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inside» May 15–21, 2013 VOLUME 38 | NUMBER 20

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NEWS

THE DAILY WEEKLY | The first in our

series of mayoral-candidate profiles begins with Peter Steinbrueck. Also: the military’s sexual-assault problem.

11 FEATURE

»35 Zac Efron in a corn-state drama, Michael Shannon as a stone-cold killer, and six Norwegians on a raft (OK, one is actually a Swede).

31 FOOD

31 | FOOD ON FILM | Culinary docs

and shorts at SIFF.

at the Seattle International Film Festival. Plus local stories of sexual shame and African reconciliation, and the first week’s picks and pans.

to-table trend is not just for restaurants.

26 ARTS

DANCE | Ezra Dickinson performs

on downtown streets.

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‘I Got the Neighborhoods’ Peter Steinbrueck’s also got a dynastic name. But can an arenaopposing preservation hawk beat the New Seattle Order? BY ELLIS E. CONKLIN

JOSHUA HUSTON

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A short, boyish-faced man who looks younger hen talk turns to Peter Steinthan his 55 years, Steinbrueck is the only nativebrueck’s prospects of becoming born Seattleite in the race, and his name recognithe next mayor of Seattle, the tion, he says, coupled with strong neighborhood question becomes: Is he yesterconnections, may pack enough political punch to day’s man—a nostalgic voice for those who long compensate for his inability, to date, to compete for a city less gung-ho on reinventing itself—or with the others for campaign contributions: the candidate whose eye for history, architecture, Steinbrueck has raised $62,000 as of last week, and urban planning makes him the dark horse to bet on? Steinbrueck was an early favorite to take City When the news broke Hall in 2009, when an embattled Greg Nickels faced tough re-election odds. At the time, Steinthat a committee of NBA brueck was two years removed from his decadelong tenure on the City Council, which he owners had voted against entered with a reputation as a firebrand environSeattle’s getting the team, mental activist—the unabashed liberal populist who co-authored CAP, the Citizens’ Alternative Steinbrueck was quick to Plan to limit high-rise growth downtown. His name alone would have made him the highestsay he was “relieved.” profile contender in the race, and it still has currency: Steinbrueck, son of Victor Steinbrueck, trailing five contenders in the money race. the famous Seattle architect and UW professor Then again, current mayor Mike McGinn who saved Pike Place Market and has a park carried the day without a lot of cash, relying named after him. instead, as Steinbrueck will, on grass-roots supBut he decided against running for the office. port and a strong ground game. It also helps that “Yes, a lot of people felt assured I’d win, but he’s an engaging and passionate campaigner, there were family things, and I just wasn’t eager and at candidate forums to jump back into public often makes a lasting life,” Steinbrueck, who impression as an intensely got divorced last year, says MAYOR’S RACE 2013 This is the first of a series looking thoughtful critic with the in a recent interview at at Seattle’s candidates for mayor. requisite City Hall experihis Pike Place Market SEATTLEWEEKLY.COM/NEWS ence and political savvy to office. Instead he accepted lead the city. a prestigious fellowship at Early on, Steinbrueck broke with the pack Harvard University’s Graduate School of Design. when he declared his opposition to the pro“I wanted to reorient and refresh. It wasn’t the posed SoDo location for a new basketball arena right time. But now I’m ready and fully prepared to house the Sonics if they returned, saying to take this on. I think the prospects are good for it would create a traffic nightmare and harm an architect to win, what with billions of dollars of public works projects coming on line.” » CONTINUED ON PAGE 9

“Moving and funny, and, my God, how refreshing.” —The Washington Post

SEATTLE WEEKLY • MAY 15 — 21, 2013

news» Steinbrueck » FROM PAGE 7 the Duwamish industrial and manufacturing base. The Rainier Valley or the Eastside, he said, were more appropriate sites. On April 29, when the news broke that a committee of NBA owners had voted against Seattle’s getting the team, Steinbrueck—who insists he’s not antibasketball; his son “is a six-foot brawny point guard at Nathan Hale”—was quick to release a statement to say he was “relieved” by the NBA’s decision. “It put too many good family-wage jobs, port shipping operations, and maritime businesses at risk.” Later that evening at a mayoral debate at South Central Community College in Georgetown, the man who’d been a paid lobbyist for the arena-opposing Port of Seattle offered this answer to when and why he decided to run for mayor: “With almost a year of secret negotiations with a private investor that led to a unilateral decision to place a sports facility in the heart of the Duwamish industrial district—that was over the top for me.” Politically daft as it may seem to oppose an arena that could usher in a new Sonics era, the stance earned him early endorsements from industrial groups and the politically potent maritime union, the Sailors’ Union of the Pacific.

The Pentagon’s Male Victims

The Pentagon released an alarming report on sexual assault in the military last week, prompting Sen. Patty Murray to introduce a bill aimed at helping victims and curbing what she called a “disgusting epidemic.” The figures confirmed what a lot of people suspected: Sexual assault is rampant in the military and getting worse. Last year, the number of reported assaults rose 6 percent to 3,374, and the number of unreported assaults is likely much higher. Extrapolating from a survey of service members not required to reveal their names, the Pentagon reckons that roughly 26,000 soldiers have experienced unwanted sexual contract, from rape to groping. But here’s something most people probably wouldn’t expect: An estimated 13,900 of these assaulted soldiers are men. Don’t look to military brass to figure out this phenomenon. In congressional testimony on May 7, Gen. Mark Welsh blamed society at large. “Some of it is the hookup mentality of junior-high even and high-school students now, which my children can tell you about from watching their friends and being frustrated by it.” But widespread sexual assault, particularly when targeted at men, doesn’t sound like high school. It sounds like prison. And indeed there would seem to be similarities between prison and the military. Arthur Satterfield, a counselor at the Seattle Vet Center specializing in sexual trauma, says sex assaults against men stem from two circumstances: “access and availability.” There simply are far more men in the military than women. “Stress level plays into it,” Satterfield adds. “Also,” he says, “the military is an institution that is very hierarchical.” That’s important, he suggests, because “this type of behavior is not about sex but about power and control.” He says that usually it’s a superior officer—in his experience, most often a man—who is asserting control over a lower-ranking service member. Alcohol is often a significant factor as well in assaults on both men and women, says Glenna Tinney, a retired captain who once managed a sexual-assault program for the Navy and now works for the Battered Women’s Justice Project. That adds up, given the heavy use of so-called self-medication by war-scarred soldiers. At the end of the day, though, we simply don’t know much about the sexual abuse of men in the military, according to Elspeth Cameron Ritchie, a Washington, D.C., area psychiatrist who previously served in the Army’s Office of the Surgeon General. That’s because so few men report it. Even in today’s military, which no longer abides by the homophobic code of “Don’t Ask, Don’t Tell,” Ritchie says soldiers are afraid of being labeled a “faggot.” NINA SHAPIRO E

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ut it’s neighborhoods that Steinbrueck is banking on most, saying those are his greatest strength. Steinbrueck, who lives in a Ravenna co-op, senses a kind of backlash among residents to the high-density mantra that’s now in vogue—more specifically, to the traffic snarls and pedestrian headaches it has spawned. “I get irked when people ask, ‘Don’t you represent “Lesser Seattle?’’ ’ No, what I am saying is that true urbanism requires more than density. There is a wrong way and a right way of doing it,” he says. “The right way includes good architecture, walkable streets, green spaces, good lighting, and combining employment with access to transit and affordable housing.” He says South Lake Union, today a veritable construction camp, is ripe for more density, but has criticized the city for, in his view, allowing Paul Allen’s Vulcan Development to “dictate development.” On police issues, Steinbrueck turns his attention not to big-picture reforms but to getting beat cops back on the block. “What we need is neighborhood policing,” he says. “I want more block watches, more cops walking the streets who have a real knowledge of the neighborhood they’re in. We also need to do a better job of recruitment and training.” Steinbrueck’s path to finishing first or second in the August 6 primary is a tricky one that hinges on how much angst voters feel about the direction Seattle is taking. As Seattle Weekly founder David Brewster put it on Crosscut, his campaign is in effect a referendum “on the New Seattle Order.” Most political observers say Steinbrueck is going to have a tough time winning the majority of the so-called liberal vote he’ll badly need, as it will likely be divided among candidates McGinn, Ed Murray, and Bruce Harrell. Steinbrueck, though, dismisses Harrell’s chances; says Sen. Murray “has been here locally for 15 years”;

and asserts that the incumbent mayor has shown “ineffective leadership” and “been too narrow on his focus.” “It’s going to come down to me, [Tim] Burgess, Murray, and McGinn,” he speculates. “And I think I got the neighborhoods, and that can go a long way in me winning this.”

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L A V TI

Much of the pleasure to be found during the four weeks of the Seattle International Film Festival comes not from the knowing reviews and preceding buzz, but from the unheralded and sometimes random discoveries that emerge from this, the nation’s largest film festival. With more than 250 features and docs unspooling tomorrow through June 9, the 39th edition of SIFF boasts more movies than any two critics could possibly see in advance. But we can make our best guesses about the schedule and ART CREDIT

its most promising titles. So in addition to the first week’s picks and pans (see page 16), here are our entirely subjective previsionary faves—what we haven’t seen, are dying to see, and hope won’t disappoint us. (For schedule and details, see siff.net.)

By Robert Horton and Brian Miller

HORTON

» CONTINUED ON PAGE 12

I’ve had a crush on Naomi Watts ever since I interviewed her for Mulholland Drive back in 2001. In Two Mothers, based on a Doris Lessing story, she and Robin Wright Penn (House of Cards), each hook up with the other’s son. So is this a case of creepy, predatory MILFs? French director Anne Fontaine (My Worst Nightmare) has often been interested in pushing women into awkward or extreme situations, and Watts is an actress at home in that rocky terrain. (Egyptian: 9:30 p.m. Fri., May 17 & 3 p.m. Sat., May 18.) Last year at SIFF, Lynn Shelton enjoyed a hometown triumph by opening the fest with Your Sister’s Sister. She was already shooting Touchy Feely at the time, which had its premiere at Sundance this January. Back from Sister is Rosemarie DeWitt, this time a massage therapist who suddenly finds herself squeamish about

» CONTINUED ON PAGE 12

SEATTLE WEEKLY • MAY 15 — 21, 2013

She hasn’t had her breakthrough yet, but Spanish director Isabel Coixet has been quietly doing intriguing work for years, including My Life Without Me (2003) and Elegy (2008), penetrating movies not at all designed to make the audience comfortable. Her new one is Yesterday Never Ends, a love-lost story set in a slightly futuristic Barcelona. (SIFF Cinema Uptown: 5:30 p.m. Sat., June 1 & noon Sun., June 2.) Speaking of My Life Without Me, that film’s star, Sarah Polley, has become a director to reckon with, and her personal documentary Stories We Tell arrives with accolades already draped around its shoulders. Polley looks into her own family history, which sounds tangled and difficult and not something her relatives particularly want to talk about. (Harvard Exit: 4 p.m. Fri., May 17. SIFF Cinema Uptown: 5 p.m. Sun., May 19.)

MILLER

SIFF»Preview touching her clients. Shelton is slowly gaining more traction in Hollywood, lately directing episodes of New Girl, and she’s attracting more outof-town talent to her Northwest indies. Allison Janney, Ron Livingston, Scoot McNairy, and Ellen Page join the ensemble for this feature. (Renton Performing Arts Center: 7 p.m. Thurs., May 23. Egyptian: 1:30 p.m. Sat., May 25.) The Act of Killing has drawn gasps and incredulous laughter at all its festival screenings. It’s a documentary about Indonesia’s civil war of the ’60s, when military death squads routinely executed leftists and suspected Communist sympathizers. Four decades later, director Joshua Oppenheimer has some of these now-aged killers re-enact their crimes. In effect, he makes them the stars of surreal little murder vignettes, where atrocities are transformed into giggling entertainment. Naturally Werner Herzog loves it. (Harvard Exit: 4 p.m. Thurs., May 18 & 9:30 p.m. Wed., May 22.) With Ariel Castro and his Cleveland sex slaves in the news, everyone’s up in arms about child kidnapping and sexual abuse. From milk-carton kids to Amber Alerts, we Americans seem to believe— want to believe?—that there are monsters lurking behind every lamppost, waiting to snatch our beloved children. It’s almost folkloric. But Danish director Thomas Vinterberg (The Celebration) complicates those notions with his acclaimed new thriller The Hunt, starring Mads Mikkelsen as a children’s day care worker accused of being a predator. In a flash, the community turns against him. Now in your living room thanks to TV’s Hannibal, Mikkelsen is an actor who deserves more attention in the U.S. (Harvard Exit: 7 p.m. Tues., June 4. SIFF Cinema Uptown: 4 p.m. Thurs., June 6.) Seattle is full of climbers who read about the 2008 icefall on K2 with grim fascination. From Liberty Ridge to the West Butt of McKinley, we all know how conditions can suddenly change, how the objective hazards of mountaineering can prove so suddenly fatal. Nick Ryan’s documentary The Summit examines how and why 11 climbers died on that Karakoram peak, considered one of the most dangerous and difficult among the world’s coveted 8,000-ers. Like Touching the Void, this doc uses interviews and re-enactments, with some of the new footage shot on K2 itself. (SIFF Cinema Uptown: 6:30 p.m. Thurs., May 30. Harvard Exit: 1 p.m. Sat., June 1.) Prince Avalanche doesn’t sound great in outline: Two guys on a road crew in the ’80s bicker and quarrel as they literally paint lines on the highway. Paul Rudd and Emile Hirsch star, with the ever-unpredictable David Gordon Green (Pineapple Express, George Washington) directing the comedy. But my interest is piqued because

Big Joy: The Adventures of James Broughton is a profile of the experimental filmmaker

This sounds like a chance for Coppola to turn up the oomph factor from her previous work.

whose life led him from the heat of the San Francisco literary scene to the quiet harbor of Port Townsend, where he died in 1999. (SIFF Cinema Uptown: 6 p.m. Fri., May 31. Pacific Place: 1:30 p.m. Sat., June 1.) Experimental artist Abigail Child shot A Shape of Error on 16 mm film, the better to create a “home movie” shot by Percy and Mary Shelley, played here by nonprofessional actors. I know nothing more about this film, which has no IMDb listing yet, but I’m pretty sure I need to see this. (SIFF Cinema Uptown: 8:30 p.m. Sun., May 19 & 8:30 p.m. Wed., May 22.) On the one hand, The Bling Ring sounds like it might feed into the weaker aspects of Sofia Coppola’s talents. On the other hand, it’s about teenagers who track the comings and goings of celebrities, the better to rob them of their goodies. Hmm, I guess those are the same hand. Still, the cast is promising (Emma Watson gets a chance to get out of Potter-world, and Taissa Farmiga—young sis of Vera—proved an intriguing presence in Higher Ground ), and this sounds like a chance for Coppola to turn up the oomph factor from her previous work. (Cinerama: 6:30 p.m. Sun., June 9. Opens June 21.)

Prince Avalanche is a remake of Either Way, an Icelandic film seen at SIFF last year, which had a lot of deadpan charm to it. Shot in rural Texas by Green’s preferred cinematographer, Tim Orr, the film emphatically contrasts the power of landscape against these two guys’ personal problems, as did the original by Hafsteinn Gunnar Sigurðsson. Here’s a rare case where I’m ready for the remake. (SIFF Cinema Uptown: 9 p.m. Sat., June 1 & 4:30 p.m. Tues., June 4.) With Kim Ki-duk, you know to expect surprising bursts of sex and violence. From 3-Iron to Samaritan Girl, he has exhibited a talent for producing shocks from slow-brewing, almost languorous drama. In his new Pieta, the brutal henchman for a loan shark is startled by the arrival of a woman who claims to be the mother who gave him up for adoption. Gang-do doesn’t believe her, so he tests her with some of the sadistic methods he uses on the deadbeats—who also come back looking for revenge. Is Mi-seon really his mother? This thug begins to soften a little at her pseudo-maternal influence. Pieta is certainly allegorical, perhaps implausible, and it sounds like another one of Kim’s signature head-scratchers. (SIFF Cinema Uptown: 10 p.m. Fri., May 17. Pacific Place: 9 p.m. Sun., May 19.) Income inequality is at record levels in the U.S., thanks to tax cuts for the rich, globalization, union busting, and other causes Robert Reich explains in the advocacy doc Inequality for All. Former Secretary of Labor in the Clinton administration, the UC Berkeley prof is basically given a platform to attack the FOX News gospel of free markets and “limited government,” and that’s what he does. Jacob Kornbluth directs, and among the subjects he and Reich interview is Seattle philanthropist Nick Hanauer. (Egyptian: 6:30 p.m. Sun., June 1 & 4:30 p.m. Mon., June 3.) Hermione turns evil. Sofia Coppola’s The Bling Ring stars Emma Watson as the ringleader of a teen gang of celebrity-obsessed robbers. It’s like a pack of delinquents crashing Lifestyles of the Rich and Famous, the vapid imitating the shallow—the only difference between the two being money and fame. And that hollow, glamorous world of discontent is Coppola’s specialty (Lost in Translation, Somewhere). She knows how to convey female longing and frustration, which should bring a new weight to Watson, now 23, who became a star playing the Harry Potter wizard who could have anything she wanted (well, almost). This true-crime story, covered by Vanity Fair, E!, and others, is something of a departure for Coppola, whose work can have a gilded, hermetic quality. I’m hoping The Bling Ring breaks her, and Watson, out of their privileged bubble. The film debuts at Cannes this week, and is SIFF’s festival-ending gala presentation, so buy your ticket early. E film@seattleweekly.com

Two Mothers

The Last Sentence

Marie Krøyer

The Bling Ring

PHOTOGRAPHY COURTESY OF SIFF

Two veteran Scandinavian filmmakers offer new titles this year. Octogenarian Jan Troell, who showed himself in splendid form in his 2008 film Everlasting Moments, weaves The Last Sentence around a real-life Swedish journalist who fought fascism during World War II; the excellent Jesper Christensen, whose career includes 007 and Lars von Trier movies alike, stars. (Egyptian: 4 p.m. Thurs., May 23 & 9:30 p.m. Tues., May 28.) And Bille August, the Oscar-winner for Pelle the Conqueror, goes the bio route as well: Marie Krøyer profiles the wife of Danish painter P.S. Krøyer, a marriage that breaks down through illness and disappointment. (Renton Performing Arts Center: 8:30 p.m. Wed., May 29. Egyptian: 4 p.m. Fri., May 31 & 9:30 p.m. Tues., June 4.) Put the words “Neil Jordan” and “vampire” together, and you’ve got a reasonably good chance that there’ll be something worth looking at onscreen. Throw in Saoirse Ronan and Gemma Arteton as bloodsuckers in an English seaside town, and the possibilities for Byzantium begin to expand rather unhealthily. (Harvard Exit: 9:30 p.m. Fri., May 17. Pacific Place: 1 p.m., Sat., May 18.) Because he’s so prolific, Hong Kong maestro Johnnie To is capable of the occasional dud. But when he’s on, he’s really on, so let’s hold out hopes for the North American premiere of Drug War, an action picture that likely covers the ground suggested by its no-nonsense title. (Egyptian: 7 p.m. Sat., May 25 & 12:30 p.m. Mon., May 27.) If you have an interest in African cinema (and you should, you should), Finding Hillywood sounds like a useful behind-the-scenes documentary about Rwandan filmmakers and their entry into the international movie landscape. See Sean Axmaker’s interview with local director Leah Warshawski on page 14. (Egyptian: 7 p.m. Wed., May 29 & 4 p.m. Wed., June 5.) Rwanda offers a narrative film this year, too: The Pardon by Joel Karekezi examines the aftermath of friends separated by the 1990s genocide. (Pacific Place: 6 p.m. Sun., May 26. Renton: 3:30 p.m. Mon., May 27.) What were you saying again about how difficult it is to make your indie-film project? Try being imprisoned Iranian director Jafar Panahi: His latest act of defiance, Closed Curtain, was somehow completed with the collaboration of co-director Kamboziya Partovi. This docudrama follows Panahi’s extraordinary This Is Not a Film, and perhaps sheds light on how he can keep working despite being under arrest for supposed offenses against Iran’s government.

MILLER

A North American premiere. (SIFF Cinema Uptown: 3:30 p.m. Fri., May 17 & 8:30 p.m. Sun., June 9. Egyptian: 7 p.m. Tues., June 4.) I’ve seen a couple of zombie walks in person, and a variety of thoughts arise at such occasions. One such thought is brrraaaaiiinnns. Another is: Somebody better be making a documentary about these people. So here’s Dead Meat Walking: A Zombie Walk Documentary, which will explain everything about those who choose to stalk. (Egyptian: midnight, Fri., May 24. Renton: 8:30 p.m. Sat., May 25.)

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SIFF»Interviews

Traveling Cinema How a local director found a family connection while filming in Rwanda.

eah Warshawski didn’t set out for a movie career. “I got into it because I worked on a boat in college,” recalls the co-director of Finding Hillywood, speaking by phone from a shoot in Idaho. She was studying Japanese at the University of Hawaii when the marine coordinator of the 2003 TV movie Baywatch: Hawaiian Wedding hired her for his crew. “I actually didn’t know anything about it at all, but he hired me as his assistant for a couple of pretty big movies, and I learned a lot from him.” She decided she wanted to become a producer, so she continued working on TV shows like Survivor: Fiji and Lost and corporate videos. “My film school was working, and I’m still learning.” A project for Microsoft brought her to Seattle and then sent her to Rwanda, where she found Hillywood. No, it’s not Rwanda’s answer to Bollywood, but a traveling film festival that screens films made by, about, and for Rwandans. Free movies are projected on an inflatable screen in rural areas—often near mass graves from Rwanda’s 1994 genocide of ethnic Tutsis by the majority Hutus. “We didn’t believe it,” recalls Warshawski. “Peo-

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ple show up with no shoes, in all kinds of inclement weather. They walk for miles and stand together in this precarious situation where you don’t know who you’re standing next to”—meaning Hutu perpetrator or Tutsi survivor. “There’s a huge issue of trust there still, years after the genocide. And that’s a little different than going to Sundance.” The story compelled her. “I felt that this was the beginning of something,” says Warshawski. So she embarked on her directorial debut, returning to Rwanda in 2008 to document the festival. “We started out making a film about the film festival, but it wasn’t enough,” she explains. She expanded her focus to include the people behind the fest, from founder Eric Kabera to the young filmmakers he mentors through the Rwanda Cinema Center and Kwetu Film Institute. But the heart of Finding Hillywood is Ayuub Kasasa Mago. A Tutsi father of four who got into filmmaking as a location scout and manager for The Last King of Scotland, now a director and an actor in his own right, Mago is the oldest of the Hillywood crew. He keeps the festival rolling day-to-day through the country’s hilly terrain (hence the festival’s

TODD SOLIDAY

BY SEAN AXMAKER Warshawski at work.

name), and he’s the documentary’s conscience, a man still haunted by the horrors and hatred of Rwanda’s history. Says Warshawski, “The film is what it is because Ayuub opened up to us about his personal story: his mother [who died in the genocide], his alcoholism, his drug addiction. It took a couple of years to build up enough trust to tell that story.” Finding Hillywood is very much a local production. Warshawski’s veteran co-director, Christopher Towey, has been her collaborator on many a Microsoft project. (He’s also the director of photography for Blackfish, a killer-whale documentary also screening at SIFF.) Her crew includes prominent local editor Eric Frith, who cut two of the most successful Seattle films of the past decade, The Heart of the Game and Eden (seen at SIFF ’06 and ’12, respectively). “We felt strongly about keeping the project in Seattle,” says Warshawski. For the movie’s world premiere, with the filmmakers in attendance, Women in Film Seattle is raising funds to bring Mago to SIFF (see

womeninfilmseattle.org to donate). There are also plans to take the doc back to Rwanda for this year’s Hillywood in July. “That’s the dream,” says Warshawski, currently working on a film about her grandmother, a Holocaust survivor. “It’s called Big Sonja, because she’s about four-foot-seven,” she laughs, “but she has a huge personality and a unique and interesting story.” There’s a link between the two projects, though Warshawski didn’t see it at first: “I didn’t realize why I was drawn to Rwanda and telling stories about genocide and survival. Through working on Finding Hillywood, I realized that it’s because of my own personal history”—i.e., her family’s Holocaust history. “I don’t know why it took me making a film about Rwanda to figure it out.” E

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t seems as though a thousand books and documentaries have been made about women and their body issues. The multibillion-dollar beauty industry—abetted by Vogue, Cosmo, and countless other lady-mags—is built on making females feel bad about the way they look. But something has shifted in our culture: Men are shaving their chests and genitals, getting pumped up on steroids, Moote narrates his awkward journey. and resorting to plastic surgery to look like the stars of pro wrestling, Hollywood action movies, and porn. Says Spitz, joining us on the call, “Patrick and I Sometimes called body dysmorphic disorder made a conscious decision that we’re not going to (or BDD), this is the broader, more serious subject go out and make a dick movie. There’s a pattern of of the documentary Unhung Hero, which folinvestigative journalism that we tried to follow. We had to cover the spectrum of penis-size experts, lows Whidbey Island native Patrick Moote on a from urologists to porn stars to sexual anthropolojourney toward bodily self-acceptance. But to get gists. Just out of our own curiosity . . . we stumbled there, first the viewer needs to accept the film’s on a penis festival in Japan and people hanging premise. This is a movie about dick size, starting weights from their penises in Taiwan. To see how with Moote’s, and it traces his efforts to increase it other cultures dealt with these issues.” by consulting various quacks, experts, doctors, and Moote tried some of these remedies himself— the nation’s leading sex columnist, Dan Savage. an embarrassing-enough task even without the “It’s not men being objectified or women camera rolling. This is where his comedy backbeing objectified, it’s people,” says Moote by ground helped, he says. “Stand-up was a huge phone during a visit home to Whidbey Island. part of my willingness to do this film, because He’s been in Los Angeles for a decade, having stand-up is the process of digging into yourself. followed his comedian brother, Brian Moote, I’d gotten used to that, to being a little bit embarinto showbiz. That means auditions and constant rassed. I’ve always incorporated a good amount judgment, based largely on his looks. He writes, of my life into the act.” does stand-up, and has earned a half-dozen How much does he show? Where does he start IMDb credits to date (including a bit part on (in inches) and where does he end? You’ll have to How I Met Your Mother). see the movie, the screening of which Moote and “My parents got me involved in community Spitz will attend at SIFF. theater as a kid,” he recalls. “We didn’t even have They both agree the film evolved from cable. On Whidbey, we had a theater with, like, something personal and comic to a larger set of one screen. Going to the movies in Seattle was concerns.“When we were testing [the movie] with a big deal for Whidbey kids. I remember one our friends, girls would identify with this project of the greatest cinemagoing experiences ever just the way guys did,” says Spitz. “Men were was going to see Jurassic Park at the Alderwood never the subject of sexual or physical scrutiny the Mall. I was a big fan of Mel Brooks films. Here, way women always have been. We live in this porI was a little embarrassed about doing theater. nified culture, and it’s really sort of bleeding into When I moved to L.A., it was about a love for the everyday view of guys and girls.” theater and film.” Moote adds, “The old ’70s porn stars, they Flash forward to December 2011 at a UCLA look like human beings, like your dad. They don’t basketball game. As we see in the film, Moote look like G.I. Joe crossed with Barbie.” But today, arranged for the “Mistletoe Cam” to be trained he worries, young teens of both sexes are being on him and his girlfriend when he popped the exposed to unobtainable bodies in both the conquestion—then everything went wrong (and ventional media and the X-rated realms of the found its way to YouTube). Later, off camera, his Internet.“They’re instantly being made insecure unnamed ex gave him the reason for her very about their bodies. You don’t have anything compublic rejection. “Apparently I have a small penis,” pare it to, and the first thing you see is, like, a foot says Moote in the doc, which was born from that moment of shame. Filmed by director Brian Spitz, long. But that’s just an image you’re seeing, that’s not the way you’re supposed to be. That’s just an Unhung Hero trails Moote back to Whidbey, to image that’s being sold.” E the Bay Area, and Asia on a quest to see what’s normal, what’s too small, and what men are doing bmiller@seattleweekly.com to rectify the situation. In form, the first-person-y doc resembles Morgan Spurlock’s Super Size Me UNHUNG HERO (sorry!), as Moote tries humiliating pumps, intePacific Place, 600 Pine St., views penile experts, and delivers sad-sack confes324-9996, siff.net. $10–$12. sions to the camera. 6:30 p.m. Tues., June 4 and 4 p.m. Wed., June 5.

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SIFF Week 1»Picks and Pans Thursday, May 16

objectively, interviewing eccentric taxidermists, pet psychics, professors, pet undertakers, and veterinarians. We hear the heartbreaking accounts of owners who “just can’t let go,” and despite the excesses and eccentricities on view, that’s what matters—the grief for a beloved animal. Furever offers an oddly compelling look at the universal experiences of love, loss, and compassion. GWENDOLYN ELLIOTT (Also 11 a.m. Sun., May 19 at Harvard Exit.)

Much Ado About Nothing 7 P.M., MCCAW HALL

Friday, May 17 The Deep

SEATTLE WEEKLY • MAY 15 — 21, 2013

NOON, PACIFIC PLACE

True survival stories are never as impressive onscreen as in our imagination, reading the newspaper accounts or survivors’ books after the disaster. Based on the 1984 sinking of an Icelandic fishing trawler, The Deep essentially a one-man show, like Tom Hanks in Castaway. Here our protagonist is stoic, doughy Gulli (Ólafur Darri Ólafssen), who looks nothing like a hero, and his boat’s foundering is nothing like The Perfect Storm. The net simply snags on a rock; the crew doesn’t want to cut it loose; a winch malfunctions; and Gulli is suddenly dog-paddling three miles to shore in the freezing North Atlantic. He talks to a seagull, recites the Lord’s Prayer, and asks God for “just one more day” as he swims. None of this is terribly interesting to watch, and Gulli’s ordeal takes place at night, so director Baltasar Kormákur (Contraband, 101 Reykjavík) adds various flashbacks and home-movie scenes from Gulli’s volcanic-island home. (He comes from a nation of hardy survivors, you see?) The Deep’s modest approach suits its phlegmatic hero, whose survival—and that’s hardly a spoiler—becomes the subject of scientific curiosity. “I’m just a man, a very lucky man,” says Gulli, but such humility doesn’t make for a very compelling movie. BRIAN MILLER (Also 12:30 p.m. Sat., May 18; 9 p.m. Sun., May 19 at Egyptian.)

Filmistaan 2:30 P.M., PACIFIC PLACE

Like a Bollywood spin on Tropic Thunder, a filmmaker

16 is kidnapped by guerrillas while on a remote location

P The African Cypher 6 P.M., SIFF CINEMA UPTOWN

COURTESY OF SIFF

Joss Whedon’s festival-opening take on Shakespeare’s nuptial comedy is sold out, but scheduled to open here June 21. Shot with Hollywood friends in his own house (and it is a nice house, paid for with all that Avengers and Buffy money), Much Ado isn’t a vanity project, since these performers are all TV pros. Still, it has the feel of a weekend-home amateur theatrical, with everyone straining to put on a jolly good show and prove their appreciation for the classics. Look! There’s Nathan Fillion as the buffoonish captain of the guard, Dogberry! When did he last deliver lines in iambic pentameter—high school? Still, he heaves his shoulders and has fun with his thick-headed part. As the quarrelsome lovers Beatrice and Benedick, Alexis Denisof and Amy Acker have a better grasp of the language, but their careful syllables don’t always match the sense of the words. Back in ’93, the Americans stood out for the same unfortunate reason among Kenneth Branagh’s mostly British Much Ado cast—poor command of the text. Absent that, there’s a lot of clowning and eye-rolling that matches the contemporary mood (though the film’s shot in black-and-white). The tone is playful until the disastrously overplayed melodrama of Hero and Claudio’s first (failed) wedding ceremony; Hero’s impugned virtue and staged death are treated like tragedy instead of a comic misunderstanding during a long, drunken weekend’s festivities. Denisof struggles with Benedick’s soliloquies, which Whedon ought to have cut to match the movie’s modern tailoring. Besides the cell phones and Prada suits, more liberties should’ve been taken. BRIAN MILLER

shoot. Only the irrepressible Sunny (Sharib Hashmi) is merely an assistant to the foreign crew, unlike Ben Stiller’s action-hero diva. And because he’s Indian and his captors are Pakistani jihadists, the threat of execution ought to be a little more real. But that’s not the agenda of director Nitin Kakkar. He gives Sunny a Pakistani protector, Aftaab (Inaamulhaq), who’s conveniently a movie lover, too. Soon Sunny is directing his own tearfully pleading hostage videos, which is actually quite funny; these mujahedeen despise such Western technology, yet depend on it. (“You look like George Clooney,” says Sunny while directing the rebel leader, who doesn’t protest.) There are more political jokes to be made here, but the feel-good Filmistaan doesn’t pursue them. A frustrated actor, Sunny is soon entertaining the village kids, directing a movie with local talent, and befriending everyone in sight (possibly including one jihadi). The sense of danger drains into the sand, and Filmistaan becomes a broad parable of national reconciliation; Sunny and Aftaab both speak Punjabi, but movies form the universal language here. BRIAN MILLER (Also 9 p.m. Mon., June 3 at Harvard Exit; 5 p.m. Tues., June 4 in Renton.)

P Imagine 4 P.M., SIFF CINEMA UPTOWN

Polish director, English lead actor, German lead actress, a bunch of kids speaking several languages, and the whole thing’s set in Lisbon? This kind of Euro-pudding co-production is often a mess, with the clashing accents dictated by complicated financing and tax incentives. But whatever its genus, Andrzej Jakimowski’s oddball tale of blindness and echolocation—yes, like a bat uses in the dark—won me over. Ian (Edward Hogg) arrives at a clinic, housed in an old monastery, to help the kids gain confidence and navigate the world safely. Only he refuses to use a cane. Is he even blind? The children both doubt him and worship him. His navigation is uncanny as he clicks his tongue and stomps his boot heels to listen for obstacles. (It’s kind of what Ben Affleck did in Daredevil, only more plausible.) Over and over, Ian instructs his pupils to construct an aural picture of the space around them—to imagine, yes, their surroundings. Then there’s Eva (Alexandra Maria Lara), who like Ian hates the stigma of blindness. She wants nothing more than to visit the neighborhood cafe and flirt with men who don’t think she’s sightless. Together, they’re a proud, prickly pair; and it’s never clear if they’ll end up together. In one lovely moment, Eva applies her makeup by touch before a big date. And in a funny shopping montage, Ian directs her to

Stories We Tell

buy the loudest heels in the store—which are conveniently the sexiest, too. Hmmm . . . maybe that guy really can see? BRIAN MILLER (Also 7 p.m. Tues., May 21; 6 p.m. Sun., May 26 in Renton.)

P Stories We Tell 4 P.M., HARVARD EXIT

Canadian actress Sarah Polley has been impressively transitioning to the other side of the camera with Away From Her and Take This Waltz, but nothing prepares you for this kaleidoscopic view of her own family life. Polley was born in 1979 to Diane and Michael, both stage actors, not long after Diane had been doing a long show in Montreal. She returned home to give birth to Polley in Toronto; 11 years later she died of cancer. Those are the basic facts, but none of the family members Polley interviews can agree on much else. Father Michael reads from a long manuscript in the recording studio, directed by his daughter; and we see a dazzling array of old super-8 home movies, the colors all fading to red, whose origin Polley explains only at the end (I won’t). Her family is somewhat bohemian; Michael tells his wife that if he can’t make her happy, she should take a lover. Their five kids, from two marriages, look back on that free-spirited era with eye-rolls and cheerful resignation. The times have changed by the time—roughly seven years ago—that Polley began to question her parentage. Stories We Tell represents that investigation, but its concerns are deeper than DNA. When a sister asks the film’s purpose, Polley says it’s “to bring someone to life through the way we tell stories about them.” It’s not about her heredity, but a loving tribute to her mother. The film opens May 31. BRIAN MILLER (Also 5 p.m. Sun., May 19 at Harvard Exit.)

Saturday, May 18 P Furever 6 P.M., SIFF CINEMA UPTOWN

Where some may shed a tear and bury Fido in the backyard, other pet owners so long to preserve the memory of a furry friend that they mummify, freezedry, stuff, clone, or opt to convert its ashes into “memorial diamonds.” Such practices may seem macabre, but in Amy Finkel’s unlikely documentary about posthumous companion animals, we recognize both the American obsession with pets and our nation’s cultural privilege. “If you were in a city in Iraq that’s being bombed,” observes UW sociologist Dr. Pepper Schwartz, “you’re probably not grieving for your dogs as much.” Finkel pursues her topic

Break-dancing may have originated in America, but in post-apartheid South Africa, that urban art form —and b-boy culture with it—continues to evolve, adapting to cultural rhythms, traditional dance forms, and politics. Documentary director Bryan Little captures the many different styles emerging in the townships, paying particular attention to one Soweto crew, The Movers & Shakers. “Life is not a movie,” says Mada Sthembiso. “We are not acting, we are living.” Amazing athleticism and innovation are expressed in each step, but we also see the time and care required to master them. As with much street art, each young dancer shares a motivation to rise above the poverty, violence, and hopelessness that pervade their lives. As the dance crews prepare for the Red Bull Beat Battle (also featured in the 2010 SIFF doc Turn It Loose), Little focuses on the fate of Sthembiso’s dance partnership with Prince Mofokeng. This subplot detracts somewhat from the greater scope of the movie, which conveys the wonderful dancing and the hopeful hearts of the dancers. Those subjects—not Little’s commentary—keep the film wildly absorbing. GWENDOLYN ELLIOTT (Also 1 p.m. Sun., May 19 at Pacific Place.)

P Key of Life 6:30 P.M., EGYPTIAN

A struggling, suicidal actor and an amnesiac hitman both get an unexpected shot at a brand-new life when they cross paths and swap identities in a bathhouse in this lighthearted black comedy from writer/ director Kenji Uchida. Sakai Masato is the likable but self-defeating actor (he can’t even kill himself without botching it) who swaps his one-room dump for the lavish apartment of Teruyuki Kagawa, a methodical assassin who loses his memory after slipping on a bar of soap (cue slapstick pratfall) and wakes up in the actor’s life. Ryoko Hirosue adds a twist of oddball romantic comedy as a coolly efficient career woman who organizes her life just as she runs her magazine: She sets a wedding date before even finding a boyfriend. Director Uchida, whose mix of social satire and wild goofball twists recalls the comic sensibility of one-time SIFF favorite Sabu (Unlucky Monkey), deftly tracks the inevitable chaos while putting the full-blooded characters front and center. Personality triumphs over circumstance, even when circumstances take some unexpected (and thoroughly entertaining) turns. Though the film runs over two hours, the measured pace, tidy narrative, and likable characters keep it alive. SEAN AXMAKER (Also 6 p.m. Sun., May 19 at Pacific Place.)

Our Nixon 7 P.M., HARVARD EXIT

I come from a family of rabid Nixon haters. With my grandfather, I watched what seemed like all of the Watergate hearing on TV. (If childhood memory serves, he bought a new color set for that express purpose, because black-and-white wasn’t good

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SIFF Week 1»Picks and Pans » FROM PAGE 16 enough for his contempt.) So while I wanted to like this found-footage archival mashup of super-8 home movies made by Nixon’s White House staffers, maybe I know too much about that era of American politics. To me, the stories of H.R. Haldeman, John Ehrlichman, and Dwight Chapin are relatively familiar, but director Penny Lane has to interpolate lots of old TV broadcasts and after-the-fact interviews to explain why her archival footage is so wonderful. And it is: Here is the cheerful, playful, colorful, and dare I say Nixonian optimism of his first term. He crushed McGovern, and his staffers had every reason to gloat. (It’s worth remembering that, were it not for the Watergate break-in and coverup, Republicans would’ve held the White House for 20 consecutive years; Carter was the historical aberration.) Still, Lane shrewdly overlays Nixon’s secret audio recordings—unknown to Haldeman and company—to give ominous context to their backstage scenes. And in one priceless bit, after Nixon praises the Ray Conniff Singers at a White House concert (“If the music is square, it’s because I like it square”), a brave young woman in the chorus holds up a Vietnam War protest sign and denounces the president. His minions didn’t realize it, but they were filming the future. BRIAN MILLER (Also 1:30 p.m. Sun., May 19.)

Stuck in Love 7 P.M., PACIFIC PLACE

That the title of director/writer Josh Boone’s feature debut was changed from Writers to Stuck in Love was a wise marketing move. This is at its core a humorous family drama about the pains of

the past and the power of love. And yet, it really is all about the writers. There are three: Bill Borgens (Greg Kinnear) is a successful novelist and pitiable cuckold. His daughter Samantha (Lily Collins) is a young novelist with thick emotional walls and ribald demeanor. And his high-schooler son Rusty (Nat Wolff) is a wannabe novelist who worships Stephen King. It’s a pleasantly dysfunctional trio, and the characters’ affection for one another is clear, even after the publication of Samantha’s first book, inspired by the night her mother (Jennifer Connelly) ran off with a dimwit local gym owner, triggers everyone’s insecurities. Adapting John Green’s novel The Fault in Our Stars, Boone does a fine job of weaving three concurrent romantic narratives, even if his supposedly stubborn characters do undergo massive transformation a bit too easily. The big problem with the script is Connelly’s character, upon which so much of the drama depends. She isn’t a writer; rather, she’s just a reader, about whom we know so little she might as well be a blank page. Perhaps that is why her three writers love her so. MARK BAUMGARTEN(Also 4 p.m. Sun., May 20 at Egyptian.)

P Interior. Leather Bar. 9:30 P.M., EGYPTIAN

Co-directors James Franco and Travis Mathews, learning that 40 minutes had been censored from William Friedkin’s incendiary 1980 film Cruising, decided to remake/reimagine them. We see some of those completed scenes, but basically this is a making-of doc. In other words, we are watching Franco’s footage of Mathews filming actor Val

Lauren playing Al Pacino playing undercover cop Steve Burns playing gay. To recreate the discomfort Pacino’s character (and presumably Pacino himself) felt while shooting the original steamy S&M-bar scenes, they naturally had to cast a straight actor in the role. (After we see Lauren and his fellow thespians receive a lesson on how to cruise, it becomes amusingly clear they needn’t have bothered—the attitude and body language of a gay man on the prowl in a club is identical to an actor’s habitual, perpetual how-do-I-look self-consciousness.) For a working actor, Lauren’s surprisingly unworldly, and consequently Interior. Leather Bar. is primarily an exploration of his personal conflict over all this scary gay stuff. On the phone with Lauren, we hear his agent’s harangues, warning him of the damage to his reputation that’ll be done by “Franco’s faggot project.” (Because of course after Cruising, Pacino’s career tanked.) Since Franco’s stated motivation for this exercise was a demand for the freedom to explore sexuality on film, and since the unseen agent’s homophobia thus lies at the crux of the issue, it’s odd that these conversations are the scenes that ring falsest; and when we later see Lauren sitting against the wall of a parking lot, his script in his lap, reading aloud the stage direction “Val sits against the wall of the parking lot. The script is in his lap. He reads to himself,” you suspect the entire thing—in yet another layer of meta—is a fully scripted put-on. (What’s not simulated is the close-up fellatio; take this either as warning or encouragement.) GAVIN BORCHERT (Also 3:30 p.m. Sun., May 19, Egyptian.)

NOWING S LEA

P Mercy 9:30 P.M., HARVARD EXIT

An unhappily married German couple moves to possibly the most depressing place on Earth, a Norwegian town called Hammerfest, far north of the Arctic Circle. And it’s winter, meaning the sun won’t come up for months. Can this marriage be saved? And do you have the strength to journey along with Niels, Maria, and their young teen son, Markus? “All we need is a second chance,” says Maria, but the odds of that seem very, very long in Hammerfest. And yet the town and its inhabitants have some interest. Maria adapts, joins the community choir, while Niels takes a mistress. You wouldn’t bet on anything but divorce, especially after a fatal car accident complicates the plot. (The dialogue shifts among German, Norwegian, and frequent English.) Mercy is long (131 minutes) and slow, but in a good way. Director Matthias Glasner counts down the days of winter with graphics on screen. We feel the winter waning, the uncaring enormity of the frozen landscape, the gradual coming of the light. Whether the Gaimann family can recover from tragedy and marital apathy is never certain, and Glasner never pushes toward melodrama or easy resolution. The seasons must inevitably change, but conscience can be a harder turn. BRIAN MILLER (Also 4 p.m. Mon., May 20.)

Storm Surfers 3-D 9:30 P.M., SIFF CINEMA UPTOWN

This is a fine documentary, perhaps even a success, when it sticks to what it purports to be: an extreme sports flick that uses 3-D cameras attached to boards, held by surfers, and hovering from helicop-

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ters to immerse us in the huge waves found miles off the Australian shore. Sadly, ocean swells aren’t the only thing directors Justin McMillan and Chris Nelius try to immerse us in. They also chase storylines meant to add gravity to the film, but end up making it feel lost at sea. The legendary surfers the film follows, Ross Clarke-Jones and Tom Carroll, are too wooden onscreen to be engaging. And as we watch an injured Carroll rehabilitate himself on waves much smaller than the promised stormy swells, the doc’s already flimsy narrative crashes into the reef. DANIEL PERSON (Also 2 p.m. Sun., May 19.)

After Winter, Spring

Nightfall

4 P.M., HARVARD EXIT

9 P.M., SIFF CINEMA UPTOWN

The Périgord is a rural farming region in southwest France, and Judith Lit is a New York woman lucky enough to own a vacation home there. Over three years, she filmed this loving portrait of her neighbors—four extended families who run small farms operating by centuries-old traditions. Here and in France, Lit notes, monoculture factory farming has become the rule—one reason food is so cheap by historical standards, but she has no interest in ordinary consumers on a budget. She’s a privileged woman who’d never set foot in a Walmart; and if you can’t afford to eat organic, this doc’s not for you. Their faces lined and fingers gnarled, the farmers share their rustic wisdom. “You should never take more from nature than you need,” one tells Lit. True, but as another farmer admits, 50 percent of his revenue comes from government subsidies. Raised on a farm in Pennsylvania, Lit doesn’t lack self-awareness, musing that her project is “a nostalgic effort to put myself where I used to be.” She both romanticizes this dwindling, aging population and takes note as new, value-added businesses are attempted. One family adds a farm-to-table restaurant; another sells boutique foie gras; and a new couple attempts a line of organic berries—which proves too fantastically labor intensive. For the faces and landscape, Lit’s film is never less that a pleasure to watch—and if you’re looking for a vacation home in the Périgord, I can promise you there will be plenty of parcels to buy in the next decade. BRIAN MILLER (Also 8:30 p.m., Mon., May 20 at SIFF Cinema Uptown.)

This Hong Kong revenge flick opens with a gloriously violent, overdone, slo-mo brawl in a shower room— golden sun beaming in the windows because, well, it just looks better that way. Who or why these guys are beating one another to a bloody pulp won’t be explained for another hour. Eventually the fight’s winner, rendered mute by a knife in the throat, emerges from jail after 20 years. Silent Wong (Nick Cheung) takes a creepy, voyeuristic interest in a young piano student (Janice Man), who goes home to an even creepier and more possessive father (the bilingual Michael Wong, who vents his rage in English). Directed by Roy Chow, Nightfall is a puzzle picture; our trying to sort out who’s who places us on the side of grizzled Inspector Lam (Simon Yam), a widowed cop with his own daughter to defend. While the movie ends up being a little too sentimental and predictable for my tastes, it’s got some great action bits. When the cop finally tracks his quarry to a glass-bottomed gondola, a ferocious fight erupts in the enclosed space. Then comes a wonderful pause as Lam realizes that Wong, with the slightest smile on his face, has no desire for either of them to survive their meeting. Hundreds of feet above the ground, Wong points his gun in an unexpected direction. It’s my favorite moment so far at SIFF. BRIAN MILLER (Also 9 p.m. Wed., May 22.)

Pit Stop 6:30 P.M., HARVARD EXIT

Yen Tan’s film focuses on the parallel stories of Gabe (Bill Heck) and Ernesto (Marcus DeAnda), both scruffy and blue-collar-y, well north of 30, and as out as they can be in the Texas backwater they call home. Pit Stop makes the point, movingly, that a small town’s limited dating pool makes life tough for everyone, not only gay men. Each character’s relationship history is a cobbled-together tangle of men, women, married

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Director Vivienne Roumani tangles with the thorny questions that the digital revolution poses to the future of the book in Out of Print without taking sides. It’s a choice that results in an unexpectedly engaging hour of B-roll and talking heads. What’s most entertaining to watch is the passion with which her egghead subjects argue their points. Amazon founder Jeff Bezos, seemingly the natural antagonist in this story, emerges as the

» CONTINUED ON PAGE 20

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people, single people—whomever they can latch onto, no matter how ill-suited. Gabe and Ernesto have two exes each, for instance, whom for various reasons they can’t escape. (If the town’s so small, though, why haven’t these two met yet? This implausibility is dealt with pretty perfunctorily.) The subtlest performance comes from indie It Girl Amy Seimetz as Gabe’s intimacy-starved ex-wife Shannon; Heck and DeAnda score a little lower on the convincingness meter, though not enough to keep you from rooting for their characters. If Pit Stop were longer than its 80 minutes, though, you’d be on the verge of throwing up your hands and thinking Geez, quit moping and move to Austin already. GAVIN BORCHERT (Also 4:30 p.m. Mon., May 20, Pacific Place.)

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» FROM PAGE 19 most charismatic and passionate reader of the lot. “Isn’t that an odd question,” Bezos answers when asked what format he reads in, his eye bulging with glee. “Can you imagine asking that question 10 years ago?” On the other side is novelist, attorney, and Authors Guild president Scott Turow, who, in his stern denunciation of e-book pirates and Google, comes off as a sort of Joe McCarthy of copyright. The narration by Meryl Streep is minimal, which is appropriate, but the light touch sometimes undermines the doc’s evenhandedness. The portion devoted to the Digital Public Library of America, for instance, has the sheen of an infomercial. Anecdotes from successful authors provide more color than substance. Still, listening to Ray Bradbury talk about writing Fahrenheit 451 on a library typewriter is always fun; and the story of Darcy Chan’s e-book success is a riveting and hopeful sign for the future. MARK BAUMGARTEN (Also 5 p.m. Tues., May 21.)

Tuesday, May 21 P Scrapper 6 P.M., SIFF CINEMA UPTOWN

Making its premiere at SIFF, Brady Hall’s local feature follows one of those anonymous day laborers driving around South Seattle in an old red truck. Why should we pay attention to this particular guy? Mainly because of the quiet, concerned dignity of Hollis (TV actor Michael Beach, currently on The Client List), who carts away scrap metal to sell at the recycling depot. Hollis has no history or friends, just an ill, elderly mother at home. He patrols the alleyways, backyards, and construction sites—a connoisseur of junk and an observer of hidden doings. One such foray takes him into a suburban S&M dungeon, where an 18-year-old girl dangles from Japanese kinbaku bondage ropes. “What are you, some kind of Republican?” she snaps at the astonished Hollis. Well, no—he’s not exactly uptight, but he’s depressed and prone to disturbing dreams (caused by his nicotine patch). And he’s a hard worker, which inspires the girl, Swan (Anna Giles), to become his assistant; scrap metal will pay better than Craigslist bondage jobs, she figures. Scrapper is about their unlikely friendship, no more and no less. Although a few punks and vandals threaten the two, it’s a modest drama that revolves around the routine of work. It puts you in mind of Ramin Bahrani (Chop Shop, Man Push Cart), whose characters live in the constant now, defined by their labor. And from salvage, possibly, comes salvation. BRIAN MILLER (Also 4 p.m. Wed., May 22.)

P Bwakaw 9:15 P.M., HARVARD EXIT

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Rene (Eddie Garcia), an elderly man in a village in the Philippines, though healthy and active, has already checked out: Almost all his belongings are prematurely packed in boxes labeled with the names of the acquaintances who’ll get them after he’s gone. The gently unfolding events that persuade him not to give up so soon—as one character puts it, “Instead of just waiting for the day you die, do whatever makes you happy”—form the plot of Jun Robles Lana’s quiet dramedy. Like most lonely people (the title refers to Rene’s closest companion, the stray dog he adopted), he’s abrasive, his shields always up—with cause, since he’s gay and spent most of his life hiding it. Bwakaw leaves questions unanswered about just how big a stigma that is in Rene’s village; everyone he knows, with one dramatic exception, seems to know and not care. Lana seasons his tale with dashes of black humor and bittersweetness. Bring tissues. GAVIN BORCHERT (Also 4 p.m. Thurs., May 23, Harvard Exit.) E

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One would think that with Jen Lancaster's impressive list of bestselling selfimprovement memoirs' Bitter Is the New Black; Bright Lights, Big Ass; Such a Pretty Fat; Pretty in Plaid; My Fair Lazy; and Jeneration X, that she would have it all together by now. One would be wrong. Jen's still a little rough around the edges. Suffice it to say, she's no Martha Stewart and that is exactly why Jen is going to Martha up and live her life according to the advice of America's overachieving older sister, the woman who turns lemons into lavender-infused lemonade. By immersing herself in Martha's media empire, Jen will embark on a yearlong quest to take herself, her house, her husband (and maybe even her pets) to the next level, from closet organization to craft making, from party planning to kitchen prep.

SEATTLE THEATRE GROUP 2013 I 2014 SEASON Build your own subscription by choosing three or more different shows below.

Nov 4 | Moore | $32.50 - $52.50

March 2 | Moore | $35 - $53.50

Nov 8 | Moore | $8.50

March 2 | Paramount | $32 - $77

Isabella Rossellini – Green Porno

May 28 - June 2 | Paramount | $23.75 - $68.75

Fela!

Global Dance Party Nov 9 | Moore | $19.50

June 10 - June 24 | Paramount | $25.50

Trader Joe’s Silent Movie Mondays – International July 13 | Paramount | $15.50

DANCE This

August 20 - 25 | Paramount | $28.75 - $78.75

Sister Act

Sept 27 | Moore | $34.50

Mavis Staples

Mar 11 - Apr 6 | Paramount | $25.75 - $153.75

Nov 12 -17 | Paramount | $28.75 - $78.75

March 20 | Moore | $30.50 - $36.50

Nov 16 | Neptune | $37

Martin Short

Jon Batiste and Stay Human

Nov 24 | Paramount | $35 - $80

April 3 - 20 | Moore | $29.50 - $52

Dec 5 | Neptune | $31.50 - $100.50

April 11 - 13 | Paramount | $24 - $61

Dec 20 - 22 | Paramount | $35.50 - $62.50

April 18 | Paramount | $19

Dec 31 - Jan 5 | Paramount | $28.75- $83.75

April 26 | Paramount | $23 - $41

2014

May 9 | Moore | $13

Jan 10 - 26 | Moore | $26.50 - $30.50

Jerry Springer: The Opera

Seattle Rock Orchestra performs The Beatles The White Album

Feb 14 - 16 | Paramount | $25 - $61

May 27 - June 8 | Paramount | $28.75 - $83.75

Cirque Dreams Holidaze

Oct 4 - 6| Moore | $32.50 - $48.50

John Malkovich in The Infernal Evita Comedy: Confessions of a Serial Killer Oct 9 - 13 | Paramount | $28.75 - $78.75

Andrew Lloyd Webber’s The Wizard of Oz

Oct 11 - 26 | Moore | $26.50 - $30.50

SEATTLE WEEKLY • MAY 15 — 21, 2013

Carrie: The Musical

Mark Morris Dance Group

Oct 24 - 27 | On the Boards | $22

Gregory Maqoma/ Vuyani Dance Theatre

March 1 | Moore | $19.50

Oct 30 - Nov 3 | Moore | $20.50 - $48.50

Peter and the Starcatcher

Zakir Hussain and the Masters of Percussion March 25 - 31 | Seattle Rep | $35-65

A John Waters Christmas

Oct 4 | Neptune | $26

Disney’s The Lion King

Kronos Quartet with special guest Degenerate Art Ensemble Mannheim Steamroller Christmas

Oct 3 | Paramount | $37 - $61

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Seattle Rock Orchestra performs Pink Floyd Priscilla Queen of the Desert

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Once

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16th Annual DANCE This July 22 - Aug 10 | Paramount | $48.75 - $153.75

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TAO: Phoenix Rising

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2013

the»weekly»wire

SASCHA VAUGHN

Les Ballets Trockadero de Monte Carlo

wed/5/15 CARTOONS

Jersey Boys

Jason Mewes and Kevin Smith are hitting the road with their new Jay & Silent Bob’s Super Groovy Cartoon Movie, which features the Clerks

Ave., 877-784-4849, stgpresents.org. $39.50– $59.50. 7:30 p.m. DANA SITAR FILM

Written in Blood

Dario Argento, the master choreographer of the

distinctly Italian horror genre known as giallo, emerged in the ’70s as the pop-art fabulist of the slasher-movie set. He’s quite popular in Europe, but 1977’s Suspiria, a stylish, surreal, downright puzzling piece of Grand Guignol weirdness, was his only American hit. Jessica Harper is an American ballet student in a creepy German dance academy run by Joan Bennett and

3935, grandillusioncinema.org. $5–$8. 8 p.m. (Repeats Thurs.) SEAN AXMAKER

thurs/5/16 DANCE

Light on Their Feats

Yes, members of Les Ballets Trockadero de Monte Carlo are masters of chest-hair-peekingover-the-tutu humor, but this travesty ballet company has a deep understanding of classical dance, skewering the fundamentals of the art form as well as the stereotypes. Last month PNB gave some excellent performances of George Balanchine’s seminal Concerto Barocco, where the choreographer matched Bach’s complex musical structures with his own kinetic ones. In Peter Anastos’ Go for Barocco (among other works on the program), the Trocks take those steps just a bit further. (Through Sat.)

Meany Hall, UW Campus, 543-4880, meany.org. $20–$55. 8 p.m. SANDRA KURTZ

sat/5/18

CYCLING

BOOKS

Safety in Numbers

Basic Biology

For us regular Seattle bicycle commuters, Bike to Work Day can be an occasion to condescend. Oh, you don’t ride all winter in the dark and wet? Perhaps I could give you some pointers. You really should try a recumbent. But not everyone can be hardcore about pedaling to work, and May—also dubbed Bike Month—brings better weather and longer daylight hours to encourage riding. The whole point to today’s swag-tastic commuter stations—dozens of them, from Lake Forest Park to Federal Way—and activities is to encourage the newbies, the timid and tentative, those shy about cars and puddles. Sadly, the challenge seems greater this year with the May 1 death of Lance David on the notoriously difficult pavement of East Marginal Way (another reason for the city to implement more of its Bicycle Master Plan). So while there is reason to be somber, there are also causes to be hopeful. More people are moving downtown (to South Lake Union in particular), within easy biking and walking distance to work. The waterfront rebuild and viaduct-replacement drilling make a bike the swiftest means to get from SLU to Pioneer Square, especially when you factor in parking. But the calculus of speed, safety, and convenience comes down to the numbers. If some 3 percent of Seattleites regularly ride to work, more will surely join them on the basis of perceived ridership: The more cyclists you see, the more normal it becomes. There is safety in the herd (well, peloton), and drivers also respond to that massing effect. The motorist’s old excuse “I didn’t see you” will only give way if more of us are visible. Commuter stations open from 6–9 a.m.; see cbef.org for locations. Ride to City Hall rally with Mayor Mike McGinn departs from KEXP, 113 Dexter Ave. N., 7:45 a.m. Downtown afterparty at Via6, Sixth Avenue & Blanchard Street, 4:30–6:30 p.m. BRIAN MILLER

DANCE

Sudden Reversal

About two thirds of the way through Olivier Wevers’ Fragments—just about the time that we

decide the work will be nothing but an unadulterated romp to arias from Mozart operas—he undercuts our expectations with a solo that’s all about exposure and bent joints, like watching a newborn foal learning to stand. Wevers seems to delight in these kinds of contrasts—his own choreography is laced with them—and the work he showcases by other artists shares that non-sequitur sensibility. For Third Degree, the spring program for his dance company Whim W’Him, Fragments comes back to the repertory, joining new works by Wevers and Andrew Bartee and L’Effleure, a new-to-Seattle work by frequent guest Annabelle Lopez Ochoa. (Through Sun.) Seattle Center Playhouse (aka Intiman Theatre), 201 Mercer St., whimwhim. org. $15–$30. 8 p.m. SANDRA KURTZ

It’s hard to imagine a time when Eve Ensler wasn’t obsessed with talking about the body. But as the playwright, author, and The Vagina Monologues creator relates in her new memoir In the Body of the World (Metropolitan, $25), she spent years avoiding it. That, as she recently explained by phone, was because of the sexual abuse and violence she suffered from her father. It wasn’t until 2010, while working with survivors of sexual violence in Africa, that Ensler confronted that topic. Another impetus was her diagnosis of uterine cancer. “It’s an odd thing,” Ensler says. “Would I wish cancer on anyone? Do you need to try this at home? No! There are plenty of ways to get back into your body without getting cancer, but cancer was a transforming agent in my life. I am very grateful in terms of that.” Her book is a graphic and fiercely uplifting illness memoir, but it’s also a consideration of the broader pathologies the Earth is suffering. Ensler, who turns 60 later this month, will tonight discuss her book and ongoing work to end violence against women. (Proceeds benefit Planned Parenthood.) Benaroya Hall, 200 University St.,

215-4747, benaroyahall.org. $24–$500. 8 p.m. TERRA SULLIVAN

tues/5/21 COMEDY

The Backup b.f.

A year ago at this time, comedian Mike Birbiglia was represented at SIFF with his

movie Sleepwalk With Me, a fictionalized account of his sleep disorder and early, struggling career on the stand-up circuit. In truth, however, Birbiglia is well past his hand-tomouth years. He’s a headlining comic regularly heard on This American Life, and he’s in Seattle to tape his acclaimed show My Girlfriend’s Boyfriend. Like Sleepwalk, it’s a long-form personal monologue, not a collection of jokes. In Sleepwalk, you may recall, he and his longtime g.f. finally decide not to marry. In this new show, he’s out on the market, reluctantly, having previously vowed, “I’m not going to get married until I’m sure nothing else good is going to happen in my life.” Birbiglia looks both forward and back at his various dating misadventures (some of which you may’ve heard in shorter form at Bumbershoot). During his formative years, he concedes, “I was not a first-round draft choice” for high-school girls to date. Thus came the horrifying realization that gave the show its name: “It’s basically about this embarrassing thing that happened

SEATTLE WEEKLY • MAY 15 — 21, 2013

duo as costumed avengers Bluntman & Chronic, now fighting the League of Shitters. The animated film is directed by rookie Steve Stark, a fan who caught Smith’s attention when he tweeted a YouTube cartoon inspired by SModcast, Smith and Kevin Mosier’s weekly podcast. Mewes produced the film for only $69,000. “That budget figure not only makes us proud, it makes us giggle,” said Smith in a press release. As Mewes told us last week, he and Smith are taking Groovy Movie on a city-by-city whistle-stop tour, following each screening with their popular live podcast Jay and Silent Bob Get Old. “You get to see a movie and also hang out afterwards,” says Mewes. “We like to involve ourselves as much as possible and make ourselves available.” Look for them in the lobby of the Moore, where plenty of merch will be sold. The Moore, 1932 Second

Alida Valli, who seem to preside over a series of bizarre murders as well. The story has something to do with witchcraft and a coven that has made its home in the sinister school, but plot was never Argento’s strength. (Now 73, he’s still working, only slower.) Suspiria’s fame comes from operatic set pieces of lovingly choreographed violence. One young woman drops through a stained-glass ceiling until a rope around her neck breaks her fall. Another swims through a room filled—for no explicable reason—with razor wire. This 35mm print, filmed in CinemaScope, will highlight Argento’s dreamy cinematography and vivid, full-blooded imagery. As a writer, Argento never really makes sense, but in a genre filled with masked brutes hacking up co-eds, he brings a dream logic to terror. Grand Illusion, 1403 N.E. 50th St., 523-

fri/5/17

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Weekly Wire » FROM PAGE 23

BOOKS

Ragged Glory

in high school. I was like the backup boyfriend.” In a sense, he’s been trying to recover his self-esteem ever since, and he relates each dating mishap with equanimity—As if he was expecting things to go wrong. Birbiglia is thus kind of a hopeful pessimist, who treats disaster as his due. Seattle Center Playhouse (aka

Intiman Theatre), 201 Mercer St., 877-784-4849, stgpresents.org. $35. 7:30 p.m. (Wed.: 7:30 & 10 p.m.) BRIAN MILLER

BIRBIGS.COM

Birbiglia the hopeful pessimist.

In Bunker Hill: A City, A Siege, A Revolution (Viking, $32.95), a tightly spun account of the opening salvos of the American Revolution, Nathaniel Philbrick never strays far from a few themes. First, a revolution makes life hell for everyone involved. Second, the rationale for this revolution was in many ways shoddy and egodriven. And third, many of the minutemen and provincials fighting the British didn’t consider themselves part of a revolution; rather, they somehow held the beliefs that King George III was on their side and that they were doing him honor by fighting the corrupt Parliament’s redcoats. The book does away with all the tiresome platitudes about liberty and self-determination that historians and Tea Party pundits too often repeat. Philbrick writes, “The Revolution, if it was to succeed, would do so not because the patriots had right on their side, but because they . . . had the power to intimidate those around them into doing what they wanted.” This approach makes for a lively account of Lexington, Concord, and Bunker Hill that’s a satisfying corrective to all the bullshit taught in elementary school and still echoed on FOX News. As Philbrick notes in the introduction, “Because a revolution gave birth to our nation, Americans have a tendency to exalt the concept of a popular uprising. We want the whole world to be caught in a blaze of liberating upheaval . . . ” As the rest of the book unfolds, his point is clear: Before we start romanticizing other people’s revolts, let’s take another look at our own. Town Hall, 1119 Eighth Ave., 652-4255, town hallseattle.org. $5. 7:30 p.m. DANIEL PERSON

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SEATTLE WEEKLY • MAY 15 — 21, 2013

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DEEP Part of the 2013 ries Se WATER CONCERT Sponsored by

arts»Performance B Y G AV I N B O R C H E R T

CURRENT RUNS

BILL & PEGGY HUNT PLAYWRIGHTS FESTIVAL One-

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

improvised trilogy of ghost stories. Balagan Theatre, 1117 E. Pike St., 800-838-3006, balagantheatre.org. $10. 11 p.m. Sat. Ends May 18. OTHELLO Shakespeare’s tragedy of manipulation and jealousy. Eclectic Theater, 1214 10th Ave., 679-3271, eclectic theatercompany.org. $15–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends May 26. TEAM OF HEROES: NO MORE HEROES The finale of Alexander Harris’ superhero satire. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. 8 p.m. Thurs.–Sat. Ends May 25. THE TEMPERAMENTALS Jon Marans’ docudrama about the birth of the gay-rights movement. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, arouet. us. $12–$20. 7:30 p.m. Thurs.–Sat., plus 2 p.m. Sun., May 19. Ends May 25. 33 VARIATIONS Moises Kaufman’s play time-leaps between two ailing individuals: Beethoven and a modernday musicologist studying him. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $10–$34.50. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends May 25. WORLD’S FAIR In this improvised crime thriller, a serial killer is on the loose at the Columbian Exposition of 1893. Wing-It Productions, 5510 University Way N.E., jetcity improv.com. 8 p.m. Thurs.–Fri. Ends June 21.

Stage OPENINGS & EVENTS

BACH AT LEIPZIG Itamar Moses’ play, structured like

a fugue, examines the intrigue surrounding an open Kapellmeister post. Taproot Theatre, 204 N. 85th St., 7819707, taproottheatre.org. $20–$40. Previews May 15–16, opens May 17. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends June 15. MIKE BIRBIGLIA SEE THE WIRE, PAGE 23. A CELEBRATION OF CLAYTON CORZATTE Honoring the recently deceased Seattle theater veteran. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. Free. 7 p.m. Mon., May 20. FAMILY AFFAIR Jennifer Jasper hosts this monthly performance-art cabaret on the theme of family. JewelBox/ Rendezvous, 2322 Second Ave., jewelboxtheater.com. $10. 7:30 p.m. Wed., May 15. THE FROG PRINCE SPU presents the Grimm fairy tale. E.E. Bach Theatre, McKinley Hall, 3307 Third Ave. W., 281-2959, spu.edu. $6. 7:30 p.m. Tues., May 21–Fri., May 24, 2 & 7:30 p.m. Sat., May 25.

•

HEDGEBROOK WOMEN PLAYWRIGHTS FESTIVAL

Readings of new work by participants. ACT Theatre, 700 Union St., acttheatre.org. Free. 4 p.m. Sun., May 19.

•

JAY & SILENT BOB’S SUPER GROOVY CARTOON MOVIE SEE THE WIRE, PAGE 23. JET CITY IMPROV TURNS 21 Finally able to legally

drink! Celebrate with two special birthday shows. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcity improv.com. 8 7 10:30 p.m. Sat., May 18. THE LANGUAGE ARCHIVE Julia Cho’s play explores love and communication. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattle publictheater.org. $15–$30. Preview May 16, opens May 17. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends June 9. ROSS MATHEWS The Chelsea Lately regular and author of Man Up!: Tales of My Self-Delusional Self-Confidence performs stand-up. The Neptune, 1303 N.E. 45th St., stgpresents.org. $28.50. 8 p.m. Sat., May 18. THE NEVERENDING STORY Journey with Atreyu in this stage adaptation of Michael Ende’s novel. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre.org. $13–$17. Opens May 17. 7 p.m. Fri.–Sat., 2 p.m. Sun. Ends June 2. NOT ALL CLOWNS ARE BOZOS V: NOT OUR FIRST RODEO Ear to the Ground’s Western-themed clown

cabaret. Center House Theatre, Seattle Center, eartothe groundtheatre.org. $15–$20. 7:30 p.m. Thurs., May 16– Sun., May 19. PARADISIACAL RITES Theatrical troupe Saint Genet presents a work inspired by “hysteria, elastic moral codes, conformity, the Jonestown Massacre, and the Manson trials.” On the Boards, 100 W. Roy St., 217-9886, ontheboards.org, saintgenet.org. $12–$20. 8 p.m. Thurs., May 16–Sun., May 19. TEATRO ZINZANNI: LUCKY IN LOVE The spiegeltent becomes Casino ZinZanni in this Vegas-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun.; see dreams.zinzanni.org for exact schedule. Ends Sept. 8. McCann bring Lewis Carroll’s tale to life, bawdily. The Triple Door, 216 Union St., 838-4333, tripledoor.net. $30–$38. 6:30 & 9:30 p.m. Wed., May 15–Thurs., May 16, 7 & 10:30 p.m. Fri., May 17–Sat., May 18. THE TWILIGHT ZONE: LIVE! Schmeater’s annual revisit to the land of Serling, with three new stage adaptations of the original TV scripts. Theater Schmeater, 1500 Summit Ave., 800-838-3006, schmeater.org. $15–$18. Opens May 17. 8 p.m. Thurs.–Sat. Ends June 15. Y-WE SPEAK A theater piece—exploring race, gender identity, social pressures, and more—generated by participants in the Young Women Empowered program. Seattle Repertory Theatre, Seattle Center, seattlerep.org. Free, but RSVP at 443-2222. 6 p.m. Sat., May 18. ZOOMAN AND THE SIGN Brownbox Theatre presents Charles Fuller’s drama about a murder in an AfricanAmerican neighborhood. Rainier Valley Cultural Arts Center, 3515 S. Alaska St., 800-838-3006, brownpaper tickets.com. $15–$20. Opens May 16. 7:30 p.m. Thurs., plus Fri., May 24 & 31. Ends June 6.

•

THE HARROWING HAUNTING OF APPARITION FALLS Blood Squad and Balagan co-produce this

CORNISH JUNIOR DANCE COMPANY The spring

student showcase. Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, cornish.edu. $14–$18. 3 & 7:30 p.m. Sat., May 18, 3 p.m. Sun., May 19. EZRA DICKINSON SEE REVIEW, PAGE 26.

• LES BALLETS TROCKADERO DE MONTE CARLO SEE THE WIRE, PAGE 23. • WHIM W’HIM SEE THE WIRE, PAGE 23.

Classical, Etc. double bill: • SEATTLE OPERA A splendid all-woman La voix humaine (a

Poulenc and Puccini’s one-acts woman confronts her lover over the phone) and Suor Angelica (a nun confronts, or is confronted by, her past). McCaw Hall, Seattle Center, 389-7676, seattleopera.org. $25 and up. 7:30 p.m. Wed. & Sat. Ends May 18. CUONG VU Music from this UW faculty jazz trumpeter. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart. org. Free. 7 p.m. Thurs., May 16. ANY ENSEMBLE Composers John Teske and Paul Kikuchi lead a performance of composed and improvised music. Chapel Performance Space, 4649 Sunnyside Ave. N., johnteskemusic.com. $5–$15. 8 p.m. Thurs., May 16. SEATTLE SYMPHONY Gerard Schwarz leads two allShostakovich programs. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., May 16, 8 p.m. Fri., May 17.

• •

SEATTLE/SEATTLE CHAMBER • ORCHESTRA Jayce Ogren conducts Sibelius’ Fifth and SINGERS

Verdi’s Four Sacred Pieces. First Free Methodist Church, 3200 Third Ave. W., 800-838-3006, osscs.org. $10–$25. 7:30 p.m. Sat., May 18. PUGET SOUND SYMPHONY Three favorites from the Fantasia films, with pianist Sara Davis Buechner. Town Hall, 1119 Eighth Ave., psso.org. $5–$11. 7:30 p.m. Sat., May 18. RAHIM ALHAJ, AMAAN & AYAAN ALI KHAN Iraq meets India with the former on oud and the latter duo on sarod. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org. $25. 8 p.m. Sat., May 18.

N. West presents his theatrical setting of the Irish legend of Diarmaid and Grainne. Green Lake United Methodist Church, 6415 First Ave. N.E., 800-838-3006, citycantabile choir.org. $15–$20. 7:30 p.m. Sat., May 18–Sun., May 19. MARKET STREET SINGERS Singing about singing, in music from Handel to Leonard Cohen. First Lutheran Church Ballard, 2006 N.W. 65th St., marketstreetsingers. org. Donation. 7:30 p.m. Sat., May 18, 3 p.m. Sun., May 19. SEATTLE PRO MUSICA Karen P. Thomas conducts Jaakko Mantyjarvi’s Canticum Calamitatis Maritimae, a haunting, hard-hitting choral piece inspired by a ferry disaster, and other works. St. James Cathedral, 804 Ninth Ave., 781-2766, seattlepromusica.org. $12–$33. 8 p.m. Sat., May 18–Sun., May 19. ANN CUMMINGS Piano works by Rachmaninoff and Sibelius, plus Cummings’ Broken but Not Broken. At Northwest Pianos, 13310 Bel-Red Rd., Bellevue, 7 p.m. Sat., May 18 (free), and Stage 7 Pianos, 511 Sixth St. S., Kirkland, 7 p.m. Sat., May 25 ($5–$15). insidethemusic.com. SEATTLE YOUTH SYMPHONY Their season climaxes with the blockbuster La Mer and the even blockier buster Pictures at an Exhibition. Benaroya Hall, 200 University St., 362-2300, syso.org. $15–$40. 3 p.m. Sun., May 19. FRENCH CONNECTIONS From UW faculty and students, music by Debussy and his contemporaries. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 4:30 p.m. Sun., May 19. GEISA DUTRA From this pianist, Bach, Ravel, Chopin (the 24 Preludes), and Brazilian music. Meydenbauer Center, 11100 N.E. Sixth St., Bellevue, langloispiano.com. $5. 7:30 p.m. Mon., May 20. SHORELINE CONCERT BAND A celebration of the euphonium, the tuba’s little brother. Shorecrest Performing Arts Center, 15343 25th Ave. N.E., 393-4280. Donation. 7:30 p.m. Tues., May 21. UW ETHNOMUSICOLOGY DEPARTMENT Hindustani singer Srivani Jade; Senegalese percussionist Thione Diop; and much more. Meany Hall, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Tues., May 21. SEATTLE OPERA’S WAGNER CELEBRATION On his 200th, a sing-along of Wagner choral favorites, a costume contest, and much more., Seattle Center Armory, seattleopera.org/singalong. Free. 7 p.m. Wed., May 22.

•

The Lost Pelican – Bar & Grill –

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SEATTLE WEEKLY • MAY 15 — 21, 2013

THROUGH THE LOOKING GLASS: THE BURLESQUE ALICE IN WONDERLAND Lily Verlaine and Jasper

acts and full-lengths by Washington playwrights. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180. $10. 7:30 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 26. See burienlittletheatre.org for lineup. BOEING BOEING Everything good about this period piece comes from the Rep. Playboy Bernard (Richard Nguyen Sloniker, radiant with charm) is juggling three stewardess girlfriends: Bhama Roget, Angela DiMarco, and Cheyenne Casebier, who pile loads of zip and personality upon playwright Marc Camoletti’s stale ethnic stereotypes. Mark Bedard stirs the pot as Bernard’s Wally Coxian friend Robert; Anne Allgood makes the very most of the testy maid Berthe. It’s a bubbly exercise in sheer theatrical style in the service of one of the weakest scripts I’ve ever seen on a stage. Allison Narver directs. GAVIN BORCHERT Seattle Repertory Theatre, Seattle Center, 4432222. $12–$80. 7:30 p.m. Wed.–Sun. plus some matinees; see seattlerep.org for exact schedule. Ends May 19. CAFE NORDO: SMOKED! Their new culinary/theater experience bites off a lot, “channel[ing] the spaghetti Westerns of Sergio Leone and the oppression of Monsanto-style agribusiness with lawyers and lobbyists portrayed as gun-toting sociopathic thugs.” The Kitchen by Delicatus, 309 First Ave. S., cafenordo.com. 7:30 p.m. Thurs. & Sat. ($70), 8 p.m. Fri.–Sat. ($80). Ends June 16. CHICAGO Maurine Dallas Watkins had an early and prescient take on America’s celebrity obsession. Transfixed as two vampy murderesses had their way with the courts and media, she turned their tale into a satirical 1926 play. And what mileage her Chicago would get. The 1996 Broadway revival of the 1975 Bob Fosse/Kander and Ebb musical adaptation is still playing—the third-longest running Broadway musical ever. Director Steve Tomkins would like Village Theatre’s staging to bring back the edgy flash the Broadway production lacks. “There’s no sense of period, of where it’s taking place,” he says. “We want to get some of the feeling of the era and the town . . . something very Art Deco, classy but trashy underneath.” STEVE WIECKING Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $24–$63. Runs Tues.–Sun.; see villagetheatre.org for exact schedule Ends July 28. A CHORUS LINE Marvin Hamlisch’s record-setting musical about the lives of Broadway gypsies. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $19–$27. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends May 26. FRANK OLIVER’S TWISTED CABARET Magic, juggling, knife-throwing, and more in this one-man vaudeville evening. Hale’s Palladium, 4301 Leary Way N.W., twisted cabaret.com. $14–$35. 7:30 p.m. Thurs., 7:30 & 10:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends May 26. GREY GARDENS Based on the 1975 documentary about Jackie O’s relatives who lived in a decrepit Long Island mansion. Doug Wright’s book for this 2006 musical does what the Maysles brothers could not: We get to see the lofty roost from which the Beale/Bouviers fell to earth. The music—score by Scott Frankel, lyrics by Michael Korie—is full of haunting contrasts between the frivolous then and the fallen now. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676, $55–$77. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends June 2. GYPSY The Styne/Sondheim/Laurents classic about the stage mom to end all stage moms. Seattle Musical Theatre, 7400 Sand Point Way N.E. #101N, 363-2809, seattlemusicaltheatre.org. $35–$40. 7:30 p.m. Fri.–Sat. plus Thurs., May 16; 2 p.m. Sun. Ends May 19.

• CITY CANTABILE CHOIR Director/composer Frederick

Dance

arts»Dance PMother for you I made this

SEATTLE WEEKLY • MAY 15 — 21, 2013

VARIOUS DOWNTOWN LOCATIONS; RESERVATIONS REQUIRED. 351-3238, VELOCITYDANCECENTER.ORG. $12–$18. 8 P.M. WED.–SUN. ENDS MAY 19.

Ezra Dickinson’s new solo piece deals with some very dark subjects—his mother’s ongoing struggle with schizophrenia and the phone call when she told him she was living on the street. But it does so with such powerful sweetness that we are beguiled as well as saddened. Raised in Bellingham, Dickinson would come to Seattle on the Greyhound bus to take classes at Pacific Northwest Ballet, and the now-boardedup bus station is where we first see him, from a vantage point across the street. Mother for you I made this is a collection of vignettes, danced in public spaces downtown. We hear the score over headphones, a combination of natural sounds, text, and music by Paurl Walsh, broadcast from a purple rolling suitcase. We trail behind that piece of luggage through sidewalks, parking lots, alleys, and parks, as Dickinson dances in the kind of street environments where he envisions his mother having lived. He is a quixotic Pied Piper, and we are his willing followers. Alongside his PNB training, Dickinson has a wide-ranging dance background, and much of it is on display here. A beautifully lofted balletic assemblé lands him at a street corner. Down the block, he weaves a long banner around a collection of birch trees like a shaman in a public park. We stop in the middle of an alley to watch a video: Dickinson and an eclectic group of dancers kicking trash like soccer balls, skittering around inside a chain-link fence, sneaking into a boarded-up building. Throughout the work he’s asking questions, of himself and of us, about our responsibilities to our families and to people in general: “Who will make a home for my mother? We have forgotten our loved ones.” As Dickinson takes us on a tour of life on the streets, we start to notice other pedestrians who are watching, and we wonder if any of them live in the spaces we’re just visiting. We look at the whole of the environment with the same attention we bring to the theater; we also see ourselves reflected in the windows of a passing bus. The performance ends in a plaza near the bus station with a dance using a full-head, papiermâché dinosaur mask—the kind of fantastical play toy that his mother taught him to make. Perhaps because Dickinson identified himself as his mother’s son, we see him at least partially as a child, and that childhood acts as a protective buffer. When he curls up under a little patchwork blanket, it’s both charming and disturbing—a reminder that a childhood quilt won’t keep the rain out. SANDRA KURTZ E

stage@seattleweekly.com

Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane.

Seattle Presenting Sponsor

Image credit: Mary, Countess Howe (detail), ca. 1764, Thomas Gainsborough, English, 1727–1788, oil on canvas, 95 3/4 x 60 3/4 in., Kenwood House, English Heritage; Iveagh Bequest (88028783), Photo courtesy American Federation of Arts. Seattle Presenting Sponsor

Image credit: Mary, Countess Howe (detail), ca. 1764, Thomas Gainsborough, English, 1727–1788, oil on canvas, 95 3/4 x 60 3/4 in.,

14,500 FANS AND COUNTING facebook.com/seattleweekly

film»This Week’s Attractions At Any Price OPENS FRI., MAY 17 AT PACIFIC PLACE AND SUNDANCE CINEMAS. RATED R. 105 MINUTES.

Graceland RUNS FRI., MAY 17–THURS., MAY 23 AT GRAND ILLUSION. NOT RATED. 84 MINUTES.

You name it, We’ll celebrate it!

Morales spares us nothing in pushing this corkscrewed story through its tight 83 minutes. Graceland raises the question of where socially aware drama tips into exploitation. But by the looks of things, it was never meant to be subtle. This movie wants to make an impact, and in its grungy, free-swinging way, it does. That impact comes from the depiction of a criminal world but also from the everyday glimpses of Manila that Morales uses as his setting. Class prejudice, official corruption, and seemingly ubiquitous trash form the backdrop for the plot, and these impressions might linger longer than the tale of a kidnapped child. Scenes set literally in a vast garbage dump become almost indistinguishable from scenes set in ordinary neighborhoods, and riverbeds teem with discarded junk. In short, it’s not a travel brochure for Manila, but an effective, almost toxic, journey to the underworld. ROBERT HORTON

The Iceman OPENS FRI., MAY 17 AT VARSITY AND OTHER THEATERS. RATED R. 105 MINUTES.

Like many a true-crime tale, the story of Richard Kuklinski sounds like it would make an incredible movie. A hired killer, Kuklinski also murdered for the sheer sport of it. When he was arrested in 1986, his wife and children had no idea he’d been doing anything illegal. They thought he was a businessman. The Iceman is further proof that not all truecrime tales make incredible movies. A dreary wallow in the mire, this one goes wrong almost from the start—save for the lead casting. The Iceman is carried on the formidable back of Michael Shannon, the Frankensteinian actor from Take Shelter and Boardwalk Empire. He brings the eerie focus of a man who could smite you down just for looking at him sideways—ideal for this role, though limiting for projects that don’t require the unsettling threat of immediate death. Somehow this outwardly quiet maniac finds a wife (Winona Ryder, suitably fragile) and settles into small-town Jersey life while prospering as a hit man for a second-rate gangster (Ray Liotta). As in every gangland saga, mob-world etiquette is as rigid as an imperial court’s, so when Kuklinski breaks protocol, he has to improvise to make ends meet. This leads him to the practice of deepfreezing his victims so they can be held for future disposal, a specialty that earns him his nickname. Scattered through this grisly scenario, which goes on for decades, are stock lowlifes played by

In the House: Luchini as a very bad teacher.

actors who clearly cannot resist the chance to slap on a vintage ’70s mustache: Chris Evans, David Schwimmer, Stephen Dorff. Everybody but James Franco, right? Oh, wait, here he is, in a 10-minute cameo as a sleazebag given an unusual opportunity by Kuklinski: As he splutters out prayers under the killer’s gun, Kuklinski promises to wait a few minutes in case God wants to intervene. That episode is drawn directly from Kuklinski’s memories of his career. If director Ariel Vromen had stuck with a more documentary-style cruise through the man’s appalling life, perhaps The Iceman would’ve found an appropriately chilling groove. Instead we hear about Kuklinski’s abused childhood, and even begin to root for him when the sleazy gangsters threaten his family. At some point he becomes like Billy Bob Thornton’s Sling Blade guy—yes, maybe he’s a tad maladjusted, but surely we can understand his protectiveness of home and hearth. All of which undercuts Shannon’s undeniable strength in the part. It does make one eager for his upcoming turn as Superman’s nemesis in Man of Steel: There’ll likely be little time wasted on exploring the psychological underpinnings of General Zod. ROBERT HORTON

Anniversary Birthday Corporate Event Divorce Engagement Foreclosure Graduation Happy Hour Independence Day Just Because Kicking Back Looking for Fun Marriage Night On the Town

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PIn the House OPENS FRI., MAY 17 AT SEVEN GABLES. RATED R. 105 MINUTES.

François Ozon’s parents were schoolteachers. That could account for the slyly mixed feelings he shows toward the protagonist of his new film. Meet Germain, a high-school teacher whose commitment to his profession is tested by his boredom, his frustrated dreams of being a writer, and the seductive series of papers turned in by a precocious student. Not “seductive” in the obvious sense—the movie’s got more on its mind than an inappropriate affair. What Germain (Fabrice Luchini) sees in the serial narrative written by Claude (Ernst Umhauer) is a spark of talent, a reason to invest himself in a student, and a string of cliffhangers that have him—and eventually his wife (Kristin Scott Thomas)—waiting breathlessly for each new installment. This is an amusing starting point for a movie, but what’s beguiling and ominous about In the House is the way Germain becomes entangled in Claude’s world. In each report, Claude recounts new details of how he’s insinuated himself into

» CONTINUED ON PAGE 29

SEATTLE WEEKLY • MAY 15 — 21, 2013

The device at the heart of Graceland is unsavory but gripping: A flunky for a crooked politician is driving his daughter and his boss’ daughter home from school when kidnappers pounce. The baddies immediately kill one of the girls and drive away with the other, a huge ransom demand trailing in their wake. The twist? The kidnappers have killed the wrong girl, and the driver is the only person who knows that his daughter, not the rich guy’s kid, is the one held captive. As it happens, this is not the only twist waiting in Ron Morales’ Graceland, a Philippine suspense picture that puts the hammer down, hard. Along with his general fraudulence, the politico is also a pedophile, a super-creep in a seamless turn by veteran Filipino actor Menggie Cobarrubias. Thanks to his depravity, we sink not merely into a horror show of bribery and kidnapping but also sex trafficking—and this rough-edged production does not opt for the chilling discretion of the recent Eden, preferring instead to clump its way right into various dens of iniquity. The driver, Marlon (played by angel-faced, slack-jawed Arnold Reyes), is mercilessly putupon: He hides the evidence of the dead girl and maintains the illusion she’s still alive, while fending off harassment by the kidnappers and questions from a hostile cop (Dido De La Paz, in an eyeball-bulging performance) who knows there’s something messy about Marlon’s story. And if we haven’t mentioned Marlon’s bedridden wife, well, rest assured this subplot isn’t quite the sympathybuilder it might seem.

ROCKIN’ PIANO SHOW

COHEN MEDIA

The cycle of teeny-bop pop stars is so short these days that Zac Efron now almost seems a relic. Didn’t he star in those Beach Party movies with Annette Funicello and Frankie Avalon? To his credit, however, he’s been picking decent film projects—like working with Ramin Bahrani, the director of Chop Shop and Man Push Cart. Bahrani, an American of Iranian heritage, is a new-school neorealist, intent on the downtrodden yet resilient among us—those who haven’t been blessed with looks and luck, like Efron. In rural Iowa, Dean (Efron) is desperate to get off the farm and away from his overbearing father Henry (Dennis Quaid). And Henry is desperate to stay ahead in the seed-sales business, which is far more valuable than his family farm. Both are cogs in big-money systems: Dean needs to pay for a ride in the NASCAR farm leagues, and Henry’s hawking genetically modified (or GMO) seeds, their patents strictly controlled by a huge agribusiness cartel. “Expand or die” is Henry’s motto, as he seeks to amass more land, which he farms in an air-conditioned, GPS-controlled tractor, checking commodity prices on his BlackBerry. Along with Henry’s neglected wife (Kim Dickens) and mistress (Heather Graham), the family conflicts and plot elements are way too familiar. The ever-solid Quaid strains to be Lomanesque, but the writing isn’t there. Bahrani has an admirable, naturalistic feel for the burden of his characters, only he grants them no expression. At Any Price achieves an earnest kind of catharsis by the end, but it never sings. BRIAN MILLER

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» FROM PAGE 27

Kon-Tiki OPENS FRI., MAY 17 AT HARVARD EXIT. RATED PG-13. 101 MINUTES.

How many filmmakers today, apart from Werner Herzog, would drift across the South Pacific on a balsa-wood raft from Peru to Polynesia for the sake of an Oscar? Thor Heyerdahl did it in 1947, then wrote a book and made a movie about his 4,300-mile journey, winning the Best Documentary prize in 1951. This new Kon-Tiki is a feature dramatization of Heyerdahl’s attempt to prove Polynesia could’ve been settled from the

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a classmate’s upper-middle-class household, but withholds information about what his purpose might be. Germain does some fatherly tut-tutting about the ethical issues involved, but the “To be continued . . . ” at the end of each paper has him hooked on vicarious adventure—including an unhealthy interest in whether Claude will make headway with his classmate’s foxy mother (Emmanuelle Seigner). Then Germain himself begins appearing in Claude’s narrative, and . . . well, best leave the remainder of the story there. Ozon’s films, Swimming Pool and 8 Women among them, tend to balance the sinister and the silly in gratifying measures, and he’s really on his game here. Germain’s journey is a sort of nightmare comedy in which he fulfills his role as his own worst enemy. I should confess that Luchini, who has been portraying the quintessential Frenchman for three decades now, is one of my favorite actors. He’s a master at conveying self-satisfaction that cries out to be punctured, but he isn’t a caricature. He parries nicely with Scott Thomas—a gallery manager whose latest show is pretentiously oversexed—and their comfortable, childless marriage can hardly compare with the excitement of Claude’s purple prose, fictional though it may be. In the House doesn’t entirely fall into place until the final sequence, a superb finish that makes you realize what this whole thing was about all along. (This also pays tribute to an instantly recognizable film classic.) It lives up to Germain’s advice to his student: The ending of the story must take the reader by surprise, but also be inevitable. By that measure, Ozon nails it. ROBERT HORTON

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Americas. Most anthropologists thought him wrong, and this Heyerdahl (Pål Hagen) can’t find academic backers for his expedition; living in New York after World War II, he’s humiliatingly rebuffed by the National Geographic Society. Like an indie filmmaker (which in a sense he was), Heyerdahl must scrape together funds, do his own publicity (via Morse code from the raft), and risk his neck to get the project done. Kon-Tiki’s all-Norwegian cast shot the movie in two different languages under directors Joachim Roenning and Espen Sandberg, giving this fluent English version a charming veracity. The six actors become sunburnt, gaunt blond Vikings during their 101-day voyage, finally looking like survivors of Burning Man. Heyerdahl can’t swim, and he destroys his marriage with his Polynesian-settlement hypothesis (which turned out to be wrong, which the movie ignores in its postscript). Also, his colloquies with a stowaway crab do make you question his sanity. (Why not just cook and eat the thing?) Despite some tensions among the crew, the occasional lowering of Heyerdahl’s confident smile, and circling sharks, we know the outcome of their adventure. There’s not much drama, though there are a few nice moments of awe. Isolated like astronauts, alone on a calm, dark sea, the men stare up at the stars. “Maybe nature has accepted us,” Heyerdahl muses. Herzog would disagree, but isn’t it nice to think that way? BRIAN MILLER E

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food&drink»SIFF

Food on Film

Exotic fruit, endangered honey, suave shellfish, and more go from the table to the big screen. BY HANNA RASKIN

opcorn isn’t the only food that’s a suitable match for the movies. Filmmakers are perpetually training their cameras on fried chickens, chocolate cakes, and spicy tuna rolls—and the people who produce and devour them. Stories about environmental destruction, monomaniacal artistry, family relationships, frustrated ambition, beauty, and the passage of time are somehow more palatable when framed by a plate. The Seattle International Film Festival has long brought many of the genre’s best examples to town, and this year continues the tradition with five documentaries, six shorts, and a pair of feature-length dramas. Here’s what you’ll need to know to plan your film diet this season:

The Fruit Hunters

The Fruit Hunters, an adaptation of Adam Leith Gollner’s globetrotting The Fruit Hunters: A Story of Nature, Obsession, Commerce, and Adventure, strives to convey the magnetic allure of exotic fruit by trailing fruit detectives and chronicling actor Bill Pullman’s attempt to establish a community fruit orchard in his Hollywood ’hood. The latter storyline’s a flop, succeeding only in making viewers extraordinarily grateful that they live far, far away from the tree-collecting celebrity’s ego. But the scenes of obsessives detailing their inexplicable love for durian; researchers meticulously matching latter-day figs to prints in centuryold books; and rainforest explorers floating down jungle rivers to locate the last-known specimen of a mango tree are terrifically exciting. And the images of unfamiliar fruits’ flesh, which variously calls to mind deconstructed smiles and bewigged barristers, are stunning.

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The Fruit Hunters director Yung Chang.

Haute Cuisine 9:30 P.M. FRI., MAY 31, EGYPTIAN THEATER; 8:30 P.M. SAT., JUNE 1, KIRKLAND PERFORMANCE CENTER. FRANCE, 95 MINUTES.

A kind of Dave for the gourmet set, Haute Cuisine is a plucked-from-the-headlines dramedy about a provincial restaurant owner appointed personal chef to president François Mitterand. Country mouse Hortense Laborie (based on Daniele Delpeuch, who later took a

More Than Honey

head-cook job at an Antarctic research station) has to contend with sophisticated skeptics at the Palais de Élysée, a doctor who insists the president shouldn’t eat fatty sauces, and jealous co-workers—but of course she perseveres. The film doles out tension as stintingly as Hortense uses cream, but the food-preparation shots are awfully pretty.

More Than Honey 8:30 P.M. THURS., MAY 23, SIFF CINEMA UPTOWN; 4:30 P.M. TUES., JUNE 4, EGYPTIAN THEATER. GERMANY, 90 MINUTES.

Mussels in Love 7 P.M. MON., JUNE 3, HARVARD EXIT; 1 P.M. SAT., JUNE 8, KIRKLAND PERFORMANCE CENTER. NETHERLANDS, 73 MINUTES.

Oysters are usually considered the Casanovas of the bivalve class, but Mussels in Love

Oysters are usually considered the Casanovas of the bivalve class, but Mussels in Love mounts a defense of the mussel as an equally erotic shellfish. Red Obsession 6 P.M. TUES., JUNE 4, SIFF CINEMA UPTOWN; 3:30 P.M. SUN., JUNE 9, KIRKLAND PERFORMANCE CENTER. AUSTRALIA, 75 MINUTES.

Red Obsession wasn’t available for screening at press time, but critics who’ve watched it agree that it’s best on the nose. The gorgeous images of France’s Bordeaux region and charming invocations of the grape’s history—Frances Ford Coppola speculates that Thomas Jefferson could have sampled the same centuries-old wine he once had the chance to

SEATTLE WEEKLY • MAY 15 — 21, 2013

For filmgoers who like to get stoned before the show, More Than Honey gets off to a promising start: Lingering close-ups of bees, swarming into near-abstraction, are interspersed with scenes of an old German beekeeper quietly reminiscing about his grandfather and flowers. But the film quickly takes a serious turn that demands the viewer’s full attention: Director Markus Imhoof is intent on uncovering what’s killing off bees worldwide. He explores a number of theories which don’t interact as elegantly as the bees he captures in their hives. Still, for aparians who’ve sat through numerous screenings of Vanishing of the Bees, More Than Honey is a welcome and visually-compelling addition to the bee journalism canon.

mounts a defense of the mussel as an equally erotic shellfish. The documentary traffics in the same close-ups that figure so prominently in The Fruit Hunters and More Than Honey, but the soundtrack stresses these images are meant to titillate. In addition to following the mussel through sex and storms, the film checks in with biologists, chefs, and gynecologists. For mussel devotees only.

» CONTINUED ON PAGE 32 31

food&drink»

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Food on Film » FROM PAGE 31

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drink—suggest “a film that could have relatively broad appeal,” the Hollywood Reporter’s John DeFore wrote in his coverage of April’s

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film are unanimous in their praise of its acting: “The pic’s pleasures are numerous, starting with its talented cast,” Variety’s Boyd van Hoeij wrote, singling out Niels Arstrup. The Playlist’s Gabe Toro describes him as “a force of nature who grabs his scenes by the throat and never lets go.”

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Tribeca Film Festival. But Red Obsession loses footing when the narrative shifts to China, where the very wealthy have developed a taste for Bordeaux. Wine geeks like Jane Anson, who reviewed the film for Decanter.com, will notice it “feels at times like a period piece, as so much has changed in the Bordeaux/China relationship since the film was shot in 2011.” And non-oenophiles will likely have trouble mustering sympathy for rich Westerners whose collecting has suffered from Chinese buyers driving up prices.

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Another film that wasn’t made available to Seattle Weekly, SOMM unseated Sideways as the most-talked about film in wine circles long before it premiered at the 2012 Napa Valley Film Festival (to a standing ovation, naturally). The documentary follows four candidates for the title of master sommelier, the highest honor a wine professional can attain. Members of the study group chronicled in SOMM make flash cards, draw maps, trade insults, and worry: It’s just like Stand and Deliver, except the stars are wearing tastevins.

A former cameraman for Anthony Bourdain asks people on the street to describe what they’d choose for their final meals.

You Will Be My Son

In this stop-motion film, a white figurine makes spaghetti.

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And in the shorts division . . .

C’est mélodramatique, non? You Will Be My Son is the tale of a Bordeaux vineyard owner who’s eternally dissatisfied with his son. When his beloved caretaker’s son arrives from California, it’s clear the winery’s ownership may be transferred outside of the family, sparking an operatic rivalry. Critics who’ve seen the

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Maggie’s boyfriend Max dies, so the resourceful grocery clerk keeps his body in the store’s cooler. E

hraskin@seattleweekly.com

Weekly_Gin_Ad_4-30-13.pdf

BestofVoracious

» by Hanna Raskin

Farm-to-Institution The problem with farm-to-table restaurants, so far as the farmers are concerned, is the difficulty of getting those tables sat during a recession. While chefs may wholeheartedly support locavorism, they only buy as much product as their customers demand—and if their restaurants close, they don’t buy any product at all. That’s why, increasingly, farmers are promoting their wares to institutions that don’t have the option of shutting down or moving to a faraway city where the economy’s healthier. “Institutions are anchors in our community,” Northwest Agriculture Business Center’s marketing coordinator Emma Brewster explained at last week’s conference, Planning for Agriculture in the Puget Sound Region, sponsored by the American Farmland Trust. “They’re a model of place-based economic support. Something like Seattle Children’s Hospital isn’t going to get up and move to Dallas.” The Northwest Agriculture Business Center is now trying to facilitate connections between growers and day cares, hospitals, senior centers, and schools by administering an online ordering system that’s formatted much like the sites maintained by major commercial food distributors. At The Farm to Table Store, which was in pilot mode last year, purchase managers can review updated inventories from area farms and select items that are paid for and delivered as though coming from

a single source. Overlake Hospital in Bellevue last month launched the new program by ordering carrots and kale rabe from Caruso Farm in Snohomish. According to director of marketing Lucy Norris, 35 sellers are currently participating in the online store. “We hope to see more come online as the season develops,” she adds. As for buyers, “Overlake and UW Medical Center are ordering weekly, but the City of Seattle— supported in the Food Action Plan—has provided stipends to 33 different preschool sites in low-income neighborhoods to spend at Farm to Table exclusively. We should see them coming online soon.” Brewster said the transactional tool was conceived after the business center arranged a no-frills wholesale market. “And lo and behold, the people who came to this market were not chefs we were expecting,” she said. “It was hospital service managers, it was people who run daycare centers.” A similar model has caught on in Cleveland, where economic developers have tailored their plans to meet the existing needs of resident institutions, such as the Cleveland Clinic. To keep jobs in the city, Cleveland’s leaders have rallied behind laundries and hydroponic-lettuce operations. “The game of farm-to-plate is changing,” Brewster said. “It’s not niche, it’s not boutiquey. It’s not what we expected 5 to 10 years ago.” E

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Reverb»SIFF

The Ceiling Can’t Hold Them

The Otherside lifts up Seattle hip-hop while it anchors SIFF’s music programming. BY MARK BAUMGARTEN

The Otherside feels unfinished. Near the end of the film, Lewis is interviewed, post-breakout, in the green room prior to his and Macklemore’s March performance on Saturday Night Live. “The last five months, starting with The Heist coming out, have probably been the craziest,” he says. “Everything is kind of changing. It’s a lot to keep up with.” How will these two artists and their Seattle peers keep up? Will the local hip-hop scene endure, or go the way of flannel? That can be the subject of Torok’s next documentary. E

mbaumgarten@seattleweekly.com

THE OTHERSIDE SIFF Cinema Uptown. 7 p.m. Fri., May 31, 8:30 p.m. Sun., June 2.

“Face the Music” Highlights SEE SIFF.NET FOR FULL SCHEDULE.

COURTESY OF SIFF

A Band Called Death 3 P.M. SAT., MAY 18 & 9 P.M. TUES., MAY 28, SIFF CINEMA UPTOWN.

“There’s no fuckin’ reason why Seattle shouldn’t be a staple for music as far as hip-hop goes,” he says. As he finishes his sentence, the picture cuts to a candid glimpse down a crowded hallway where Macklemore is waiting in the wings. From this point on, it’s Macklemore’s show. Torok’s documentary doesn’t abandon the other musicians here, but Macklemore’s presence overshadows their every quote. When MC Khingz talks about working your ass off, you think about Macklemore. When Spac3man talks about the need to tour, you think about Macklemore. When RA Scion talks about being uncompromising in his art, you think about Macklemore. And when Macklemore talks about the potential of the artists in the region, you think about Macklemore. “We’re starting to become comfortable in our own skin and in the music we’re making as a region,” says Macklemore in a segment that appears to have been shot before he sold out three nights at the Showbox, played the mainstage at Sasquatch!, released his and Lewis’ debut album, The Heist, and then rocketed to the top of the charts. “We don’t have to look at those other regions and be like, ‘Man, why aren’t they paying attention to us the way they’re paying attention to those guys in L.A.?’ . . . It doesn’t matter. If we’re doing us, the people will eventually catch on. And I think that has already started.”

here’s an irony to watching such scenes and knowing what’s ahead for these artists. Torok does a fine job of capitalizing on the moment while not losing the larger story of Seattle hip-hop. Yet

The latest in a series of rock docs that unearth acts from the past that deserved greater fame (see Searching for Sugar Man), this is the story of the Hackney brothers and their punk-rock group, Death. What’s notable about this band of minister’s kids is that it was crafting fast and ragged punk songs in Detroit years before New York caught on. Also, these brothers are black, a fact that scared off major labels but gives the film an edge. Featuring interviews with Henry Rollins, Kid Rock, Alice Cooper, ?uestlove, and, um, Tobey McGuire.

Harana 3 P.M. SAT., MAY 25 & 11:30 A.M. SUN., MAY 26, SIFF CINEMA UPTOWN.

Presented in a style very similar to that of The Buena Vista Social Club, Harana follows Filipino-American guitarist Florante Aguilar to the Philippines, where he explores the history of the serenade before modern technology wipes it out. The passion and nostalgia inherent in the project is a natural draw, but the beauty of the music makes this a vital film.

The Punk Singer 9:30 P.M. THURS., MAY 24 & 1:30 P.M. SUN., MAY 26, HARVARD EXIT.

Unseen but on my list is this documentary profile of Kathleen Hanna, a pioneer of Olympia’s riot girrrl scene and leader of Bikini Kill and Le Tigre, who abruptly stopped performing in 2005. (She was later diagnosed with Lyme disease.) Among those interviewed by director Sini Anderson are Kim Gordon, Joan Jett, Carrie Brownstein, and Adam Horowitz.

SEATTLE WEEKLY • MAY 15 — 21, 2013

ast year SIFF screened Welcome to Doe Bay, a picturesque documentary about Macklemore performs a small music festival on Orcas Island at KeyArena. that has had an outsized impact on the Northwest music scene. Filmed during the festival’s three-day span on a somewhat remote island, the parameters for that film were well-set. The Otherside, this year’s local-music-zeitgeist doc premiering in SIFF’s “Face the Music” program, was created with no such parameters. Directed by Daniel Torok and produced by J.R. Celski and Vinny Dom, it’s an inside look at the Seattle hip-hop scene, following its subject wherever it may go. Too often this approach results in a meandering tale, but not this time. Since filming began a few years ago, the scene has exploded. At least it has for Macklemore and Ryan Lewis, the artists responsible for the song from which the doc’s title is derived. And, yes, the documentary ultimately trains its focus on the rapper responsible for the quadruple-platinum hit “Thrift Shop.” But thankfully it sets up its main act with plenty of support. The film opens on an interview with ?uestlove, the famed drummer for the Roots (and leader of Jimmy Fallon’s house band), one of the preeminent authorities on the state of contemporary hip-hop. His contention is that hip-hop has our sound,” says Fresh Espresso’s P Smoov. “It’s grown up and maybe lost some of its swagger. a great place for an idea to flourish.” This is true, “Hip-hop is a 34-year-old single mother of as proven by the doc’s mesmerizing performances three,” he says. “It’s gotta become a subculture by diverse acts like Shabazz Palaces, the Physics, again.” and Champagne Champagne (though the lack Enter Seattle. In his 47-minute doc, director of female artists is noticeable). And yet, here Torok efficiently splices together music vidis where the story of Seattle hip-hop usually eos, interviews with dozens of the city’s artists loses its luster and sputters. The artists might be and promoters, candid backstage footage, and comfortable without a dominant aesthetic, but high-energy live performances. He constructs diversity doesn’t really make for a strong central an argument that the Seattle scene can be that narrative. This is where Macklemore comes in. subculture, though he never states his thesis so Torok plays his deus ex machina perfectly. obviously. Though there are glimpses of Seattle’s breakout Torok lays his groundwork early with heavyartist in the film’s opening moments, Macklweights paying authoritative, if cursory, respect to the past. KEXP DJ, MC, and Stranger columnist Larry Mizell Jr. remembers longgone venues Rock Candy and the Paradox and influential regional compilations 14 Fathoms Deep, Do the Math, and Classic Elements. Shabazz Palaces’ Tendai Maraire talks about the freestyle battles that used to spring up at the Mural Amphitheatre, and he remembers listening to Nasty The artist, earlier, Nes introduce the city to early at a smaller venue. rap on 1250 K-FOX. Producer Jake One recalls attending early music conventions and emore remains completely—and purposely, it handing out recordings of beats he made. seems—absent from The Otherside until the Much hand-wringing follows, with artist 20-minute mark. Brainstorm, an MC for the after artist weighing in on the core existential dilemma of Seattle hip-hop: the lack of a distinc- group Dyme Def and one of the film’s most compelling talking heads, narrates the moment. tive sound. “The fact that there is no sound is

Reverb»Reviews »EVERY LOCAL RELEASE*

LOCAL BANDS

*Kye Alfred Hillig, Together Through It All BARRY BLANKENSHIP/DENISE NESTOR

(out now, self-released, kyealfredhillig.bandcamp.com): Produced with an ensemble of local talent like Shenandoah Davis and Samantha Boshnack, Together is so lovingly crafted and honest, it’s almost as if the singer/songwriter simply sang the contents of his journal over acoustic folk melodies, especially on the touching title track. And if you’re looking for a truly “Aww!”-inducing song, “You & Me & Time” will be right up your alley. The standout track is a quick listen, but its message of love overcoming all odds will keep pep in your step all day. (Fri., May 31, Hard Rock) AZARIA PODPLESKY

Kye Alfred Hillig’s Together Through It All is out now.

Dave Ellis, Everything in Between (May 16, self-released, daveeellis.com): A well-oiled adultcontemporary release with slick guitar leads, piano flourishes, and understated drumming. Among the standouts, “Out of the Dark,” with its wailing lap-steel accompaniment, evokes the sounds of modern Nashville country, while “Only Thing We Need” is played in the contemporary blues style of John Mayer. (Sun., May 19, Bake’s Place) CORBIN REIFF Future Fridays, “Fertile Nerd Alert” (out now, self-released, soundcloud.com/eric-padget/ future-fridays-fertile-nerd): Thanks in part, no doubt, to engineer Steve Fisk’s assistance, “Fertile Nerd Alert” finds duo Eric Padget and Sari Breznau delivering a fresh and strippeddown sing-along as they harmoniously plead for someone to “tell me that you’ll never leave me.”

SEATTLE WEEKLY • MAY 15 — 21, 2013

MARTHA TESEMA

Jim of Seattle, We Are All Famous (out now, Green Monkey Records, soundcloud.com/ greenmonkeyrecords/sets/jim-of-seattle-we-areall): Have you ever wondered what the extended version of Brian Eno’s Microsoft Windows jingle might sound like? On “Welcome to Windows,” JoS offers his interpretive vision: a sweeping, Gershwinesque piano number interlaid with sounds from the software suite—both sampled from and inspired by—including that iconic start-up cue. GWENDOLYN ELLIOTT Kublakai, “AndIbelieveher” (out now, selfreleased, youtube.com/watch?v=dXM1U4mt3q8): In his latest single, Kublakai raps over what sounds like a groovy Marvin Gaye sample about his past (“a few hiccups and missteps”), his present (“going back to college”), and his goals for the future, all while the titular “her” assures him “Everything is going to be OK.” AP

Gaytheist, Hold Me . . . But Not So Tight (May 21, Good to Die Records, goodtodierecords. com): This punk-metal album starts with a chaotic 35-second intro and only gets crazier from there. Hold Me . . . doesn’t even break half an hour, but by the end of it you’ll feel as though you’ve been thrashing around at a Gaytheist show all night. (Fri., June 7, Black Lodge) AP

Sol,”Dope” (out now, self-released, solsays.

Goodbye Heart, “Seconal,” “1st Street” (out now,

released, soundcloud.com/theory-6/nexusof-wires): Just one listen to Theory’s hip-hop take on surveillance culture, including tracking people using smartphones and bugging phone lines, and you’ll be wondering what it really means when you accept a website’s terms of agreement. AP

self-released, goodbyeheart.bandcamp.com): These two tracks from Ballard duo Sam and Nila are atmospheric, ethereal, and shimmering— everything you could ask for from a dream-pop release. If only the album were longer . . . (Thurs., June 6, Blue Moon) AP

*Yeah, every release

com): The travels UW graduate and rapper Sol embarked upon as a result of his recent Bonderman Fellowship add a new, worldly dimension to this single. Sampled steel drums incorporate a set of tropical rhythms, while his rhymes flow as smooth as ever. ASHLEY ROE

Theory, “Nexus of Wires” (out now, self-

It is our intention to review every release issued by Seattle bands and local labels. We try to run reviews as close to release dates as possible. If your LP, EP, single, or mixtape has slipped through the cracks—or you wish to alert us to an upcoming release—please e-mail reverbreviews@seattleweekly.com.

1303 NE 45TH ST

tractor Times listed are show times. Doors open 30-60 minutes before

Wed, May 15 • 9pm ~ $6 stripped down blues rock

BETSY OLSON

PIPSISEWAH DETECTIVE AGENCY Thur, May 16 • 8:30pm ~ $15 contemporary folk duo

THE MILK CARTON KIDS THE BAREFOOT MOVEMENT seated show Fri, May 17 • 9:30pm ~ $10 country blues & early jazz

POKEY LaFARGE

JD HOBSON GUS CLARK of Gods Favorite Beefcake Fri, May 17 • 9:30pm ~ $12 local pop & rock

BEN UNION

WHISKEY SYNDICATE SWEETKISS MOMMA album release show

REDWOOD SON

album release show Up & Coming Every Second Sunday 10am-3pm Morning After Fine Art & True Craft Sale • 5/19 Square Peg Concerts presents CORB LUND • 5/21 The Tractor presents at The Sunset FREEDY JOHNSTON, BLUE EYED SON

5213 BALLARD AVE. NW www.tractortavern.com

El Corazon

2033 6th Avenue (206) 441-9729 jazzalley.com

www.elcorazonseattle.com

Jazz Alley is a Supper Club

109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482

WEDNESDAY, MAY 15 Mike Thrasher Presents:

John Hammond The Greyboy Allstars

San Diego Boogaloo jazz Consummate Blues Musician - 2011 Blues Hall of Fame greats return to Seattle for Inductee and 2011 Blues four nights in support of their Music Award Winner for Acoustic Artist of the Year new release - Inland Emperor

May 15

May 16 - 19

with Brandon And Savannah, Taylor Mathews, and Alex Aiono Doors at 6 / Show at 7PM ALL AGES/BAR W/ID. $18 ADV / $20 DOS

THURSDAY MAY 16

CLARITY IN FICTION

Gerald Clayton Trio with Sachal Vasandani 2-time Grammy nominated jazz pianist joined by foremost post-millenial male vocalist

May 21- 22

Spyro Gyra American nouveau pop-jazz

May 23 - 24

FRIDAY, MAY 17 Mike Thrasher Presents:

REHAB

with BNMC, DJ Chris Crisis, Reklez with King Bishop Bars, and No Buffer Doors at 7 / Show at 7:30PM. ALL AGES/BAR W/ID. $15 ADV / $18 DOS

SATURDAY, MAY 18

HURT Anthony Wilson, Julian Lage, Chico Pinheiro & Larry Koonse

- Seasons Guitar Quartet Four sublime guitarists - a modern jazz/ chamber ensemble

May 28 - 29

Spanish Harlem Orchestra

One of the most formidable and authentic, Grammywinning, 13-piece Latin jazz combos of present day

May 30 - June 2

Walk-ins always welcome! All Ages • Free Parking • Gift Certificates Military, Senior and Student Discounts

with Van Eps, Alabaster (EP Release), Nixon Rodeo, and Eros Doors at 7:30 / Show at 8PM. ALL AGES/BAR W/ID. $13 ADV / $15 DOS

CANNIBAL CORPSE

with Napalm Death, Immolation, Cretin, and Great Falls. Doors at 6 / Show at 7PM ALL AGES/BAR W/ID. $25 ADV / $28 DOS

MONDAY MAY 20

HANZEL UND GRETYL with Murder Weapons, Mixed Messages, This Soil Is Diseased, and Prehumanity Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $15 ADV / $20 DOS

TUESDAY, MAY 21

BINARY HOLOCAUST with Joey Molinaro, Monkey Bat, and TRIAXE Lounge Show. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

WEDNESDAY, MAY 22

JONAH TOLCHIN

with Sawmill Joe, Cold Comfort, Dead Sea Symphony, and Vito Chiechi Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

JUST ANNOUNCED 6/8 COLD HARD CASH 6/29 BUCKCHERRY 7/2 SMP / STIFF VALENTINE 7/2 LOUNGE BAD LOUD 7/7 LOUNGE THE RESIGNATORS 7/11 LOUNGE THE ROYALTY 7/23 CASCABEL 7/26 TRAPT 7/27 ALEX GOOT 8/1 TRUTH UNDER ATTACK UP & COMING 5/24 & 5/25 INSANE CLOWN POSSE 5/26 TEXAS IN JULY 5/27 INTERVALS 5/29 LARUSSO 5/31 MIKE PINTO 5/31 LOUNGE SPACEWASTER 6/1 BIG K.R.I.T. 6/2 PROJECT 86 6/2 LOUNGE THE CITY COMES ALIVE 6/3 TIGERS JAW 6/5 oOoOO Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com

SEATTLE WEEKLY • MAY 15 — 21, 2013

with Peopletank, Back From Blind, and guests Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SUNDAY, MAY 19 Mike Thrasher Presents, The Decibel Magazine Tour featuring:

Reverb»Seven Nights

Laura Marling.

COURTESY ARTIST

Wednesday, May 15 JIM JAMES Before his band’s summer megatour

with Bob Dylan and Wilco, the My Morning Jacket frontman is hitting the road to promote his first solo album, Regions of Light and Sound and God. With Cold Specks. Neptune Theatre, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $15. All ages. LAURA MARLING Noting the youth of a successful musician is a rather annoying music-writing trope— after all, it shouldn’t be all that surprising that a young person is doing something creatively interesting. But pointing out that Marling is just 23 seems appropriate—her folk music sounds strikingly livedin (but not “mature”), yet still modern. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacity theater.com. 8 p.m. $20 adv./$25 DOS. MGMT With “Alien Days,” the first single from MGMT’s forthcoming third album, it’s pretty clear that Andrew VanWyngarden and Ben Goldwasser have completely abandoned the crowd-pleasing electro-pop that made them famous. It’s a dense song, with vocals buried deep in the mix, and its intro—what sounds like pitchshifted children talking—recalls their divisive, all-overthe-place sophomore album Congratulations. With Kuroma. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 8 p.m. Sold out. All ages.

Thursday, May 16

five-piece—named Portland’s • AND AND AND ThisWillamette Week just two

•

“Best New Band” by years ago—plays rough-and-tumble pop-rock songs that translate to a high-energy live show. With NighTrain, Sun Angle. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $5 adv. DAUGHTER This British trio relies as much on Elena Tonra’s hushed vocals as on guitarist/producer Igor Haefeli’s atmospheric production style, which cloaks the group’s gentle indie-folk in layers of oceanic

Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

38 •

Friday, May 17

THE SHEDS This Southern California band’s sugary pop-

punk tunes earned it a slot on this summer’s Warped Tour. With Lo’ There Do I See My Brother, Burn Burn Burn. Vera Project, 305 Harrison St., 956-8372, thevera project.org. 7:30 p.m. $8 adv./$10 DOS. All ages. TOYS THAT KILL Formed in the late ’90s in the wake of F.Y.P., frontman Tom Congelliere’s previous band, Toys That Kill are a hard-touring bunch with a knack for punk songwriting. With Big Eyes, Big Truck, Ubu Roi. Highline, 210 Broadway Ave E., 328-7837, highlineseattle.com. 9 p.m. $7. TURQUOISE JEEP A record label, hip-hop collective, and meme come to life, Turquoise Jeep has leveraged its immense YouTube popularity into national tours like this one. Whether the group is self-aware remains to be seen, though songs like the unabashedly goofy “Lemme Smang It” (with nearly 11 million views at the time of this writing) suggest it probably is. With Kosha Dillz, Slow Dance. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $15 adv. All ages.

Saturday, May 18

THE BEETS Signed to Hardly Art, this New York trio is

as good a representation as there is of the smart, melodically friendly art-punk its label is so fond of. With CMRTYZ. Barboza, 925 E. Pike, 709-9951, thebarboza.com. 8 p.m. $8 adv. MARIANAS TRENCH This band might be Canada’s answer to My Chemical Romance: It’s crafted an emo rock opera (2011’s Ever After), its songs are requisitely syrupy, and the photo at the top of its website shows

the four members in marching-band uniforms. The difference is that MCR just broke up and Marianas Trench is hitting its stride, releasing the Face the Music EP this month. With Air Dubai, DJ Protector. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 7 p.m. $18 adv./$20 DOS. MUSIC LESSONS MATTER! Now in its fourth year, this concert pairs the Synergia Northwest Orchestra with local musicians to provide free after-school music programs for elementary students in the Central District. With Walking Papers, Michael Shrieve, Tess Henley, Mycle Wastman, Massive Monkees, DJ Katz. Moore Theatre, 1931 Second Ave., 467-5510, stgpresents.com. 7 p.m. $15–$40. All ages.

TRIMTAB This local guitar/bass/drums combo plays

an amalgam of dub and free jazz, though the simple instrumentation occasionally results in some postrock-sounding moments. With Ronin, Lil Coop Sextet. Comet Tavern, 922 E. Pike St., 322-9272, comettavern. com. 9 p.m. $7.

Monday, May 20

• BLACK MOTH SUPER RAINBOW The latest from the deliberately mysterious Pittsburgh psych-pop collective is last October’s beguiling Cobra Juicy. With The Hood Internet, Oscillator Bug. Neumos. 8 p.m. $15. DETROIT COBRAS One of America’s few touring cover bands, this garage-rock group pays tribute to little-known gems by girl groups and R&B, soul, blues, and country musicians. With Pangea, TacocaT. Chop Suey. 8 p.m. $12 adv. SIR SLY was initially rumored to be a side project of Foster the People, but the newly formed L.A. trio is merely polished beyond its brief time as a band. Its svelte, smooth electro-pop could prove a big hit. With JMSN, Dresses. Barboza. 8 p.m. $10 adv.

Tuesday, May 21

AFROCOP This group of veteran musicians brings

The Beets.

Sunday, May 19 FRIENDLY GOMEZ This musician, playing his first

headlining show, writes stately folk songs that feature his smooth tenor vocals and lush instrumentation. With Ghost of Kyle Bradford, Locomotives. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 7:30 p.m. $6.

FEDERICO BOLAGNO

SEATTLE WEEKLY • MAY 15 — 21, 2013

•

reverb. With Jeremy Messersmith. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. MOOSE PORTRAIT Local DIY label CTPAK drew from its eclectic roster of artists to curate this lineup, which includes the spacious folk of Erik Ryan, the amorphous experimental pop of Children of Kids, and the electronic-tinged rock of the headliners. Vermillion, 1508 11th Ave., 709-7979, vermillion seattle.com. 7 p.m. Free.

myriad influences—jazz, gospel, psych, Afrobeat— to this improvisation-driven project. With Kaffine Trio, Fruit and Vegetable. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $5. FABOLOUS Since his apex in the early-to-mid aughts, highlighted by standout single “Breathe,” NYC rapper Fabolous has fallen off his game, releasing a sequence of bloated albums on which the guest MCs often outshone him. It remains to be seen if the release of June’s Loso’s Way 2: Rise to Power will mark a return to form. With Pusha T. Showbox at the Market. 7 p.m. $29.50 adv./$35 DOS. All ages. FREEDY JOHNSTON Over almost three decades of making music, Johnston has merged literary lyrics with power-pop sensibilities and thoughtful songwriting. With Blue Eyed Son. Sunset Tavern. 8 p.m. $10 adv./$12 DOS.

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Music Festival

SEATTLE WEEKLY • MAY 15 — 21, 2013

Don’t just savor the scenery, devour it — as you ski, cycle, paddle, dance, dine, explore, and recharge yourself in the healthiest, happiest, most vibrant corner of Washington State. Find us between the mountains and the sea. One destination, many adventures.

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Reverb»The Short List

NO HIDDEN FEES

Pokey LaFarge.

Talk. Released in March on the British singer/ songwriter’s own Have 10p Records, Girl Talk resembles her previous releases in that each song is just as honest and intimate as before. Nash gets a lot of frustration off her chest on this album, while simultaneously keeping the overall vibe upbeat. It’s the perfect soundtrack for just bouncing around the house or ripping the head off a teddy bear because you’re upset at your ex—a la Nash in the video for lead single “3AM.” Those of you who were able to get tickets to Nash’s sold-out show should prepare for a ton of fun, a touch of moodiness, and a lot of, well, girl talk.

Evening and Weekend Appointments Available!

Call 206.682.3015 for an appointment www.choicewellnesswa.com

W W W. S E AT T L E W E E K LY. C O M / S I G N U P

With Peach Kelli Pop. Crocodile, 2200 Second Ave., 441-4618. 8 p.m. SOLD OUT. All ages/bar with ID. AZARIA PODPLESKY

Pokey LaFarge FRIDAY, MAY 17

EKLY

E V E NT S

M US I C

P R O MO TIO NS

MUSIC NEWSLETTER

A R T S A N D E NTER TA IN ME NT

H A P P Y HO UR

LIVE COUNTRY MUSIC .co ww w.lit tleredhen

THURSDAY MAY 16TH

WES JONES BAND 9PM $3 COVER

FRIDAY & SATURDAY MAY 17TH & 18TH

BUCKAROO BLUES

THANK YOU BUCKS FOR 22 YEARS… WE BID YOU A FOND FAREWELL. 9PM - $5 COVER

SEATTLE WEEKLY • MAY 15 — 21, 2013

SUNDAY MAY 19TH

JOSHUA BLACK WILKINS

The inside scoop on upcoming shows and the latest reviews.

MERCHANTS OF MOONSHINE

9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BILLY BODACIOUS TUESDAY MAY 21ST

TEQUILA ROSE 9PM

MONDAY AND WEDNESDAY

KARAOKE WITH DJ FORREST GUMP 9:00PM • NO COVER

FREE COUNTRY DANCE LESSONS WITH OUR HOST MARYANN AT 8PM; SUN, MON, TUES

HAPPY HOUR 9AM-NOON & 4-7 PM • MON-FRI WELL DRINKS & DOMESTIC BOTTLED BEER $2 16 OZ. MICROS $3.50 DINNER: 5-10PM EVERYDAY BREAKFAST & LUNCH: SAT 8AM-2PM / SUN 9AM-2PM 7115 WOODLAWN AVENUE NE 522-1168

Black Pus WEDNESDAY, MAY 15

Brian Chippendale has been a tornado behind the kit of the infamous Rhode Island noise/ thrash duo Lightning Bolt for nearly 20 years, spazzing out mightily on the drums and gurgling lyrics through a distorted mike planted inside a freakish stage mask. Chippendale creates a similar racket as solo act Black Pus, in which Brian Gibson’s grinding bass guitar is supplanted by Chippendale’s at-foot oscillators and loop pedals uploaded with bizarre fuzz from the depths of his brainspace and layered to a potent drone. He hasn’t gotten weirder—

an impossibility, it seems. His creativity has simply overflowed after two decades of steady collaboration, and his left foot—his last idle body part—needed a new challenge. This oneman show is not to be missed. With MTNS, the Numbs. Black Lodge, location undisclosed. 9 p.m. All ages. TODD HAMM

Kate Nash WEDNESDAY, MAY 15

Kate Nash is not afraid of change. After releasing a very indie-pop debut album, Made of Bricks, followed by 2010’s doo-wop-tinged My Best Friend Is You, Nash has added yet another genre to her repertoire with the garage-punk Girl EDITOR’S PICK

FLEETWOOD MAC

Fresh on the heels of its just-released EP Extended Play (the band’s first studio recording MONDAY, MAY 20 since 2003’s Say You Will ), Fleetwood Mac is making a local stop on its massive World Tour. Known almost as much for their group turmoil as for their impressive collection of ’70s hits, the band members seem to be in good spirits, their often-discussed, age-old acrimonies a thing of the past. With the exception of Christine McVie, who hasn’t toured with the band since 1998, the entire Rumours-era lineup—Stevie Nicks, Lindsey Buckingham, John McVie, and Mick Fleetwood—will hit the Tacoma Dome stage. Expect a set heavy on hits, with songs like “The Chain,” “Landslide,” and “Gold Dust Woman” sure to be included alongside selections from the new release. While it isn’t certain they’ll be able to work up the old magic this late in the game, we do know that they certainly aren’t ready to go their own ways quite yet. Tacoma

Dome, 2727 E. D St., Tacoma, 253-272-3663. 8 p.m. $49.50–$147.50. All ages. CORBIN REIFF

There’s something freewheeling and fancy-free about the music of Pokey LaFarge—the sort of feel-good Americana you can’t help but warm to. Maybe it’s the seamless way mandolin and harmonica complement LaFarge’s Southerngentleman swag. Or maybe it’s the charming way his twangy vocals tell stories about whiskey and weed-wackers and women. Whichever, it’s a special formula that transports a listener to a specific point in history—a time when sitting on the porch, sipping sweet tea, and hiding from those sweltering Southern summers was key. On the surface, it’s not something Pacific Northwesterners can easily relate to. But the gritty, saloon-ready vibe that comes with LaFarge’s bouncy, old-timey blues helps us relate. With JD Hobson and Gus Clark (God’s Favorite Beefcake). Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m. $12. KEEGAN PROSSER

RVIVR SATURDAY, MAY 18

With its dueling male/female vocals, Olympia’s RVIVR has an infectious pop-punk energy, a hybrid of ’90s-era Lookout! Records bands like Screeching Weasel and more modern fare like the Menzingers and Japandroids. Also, the band’s sophomore LP, The Beauty Between, is one of the year’s best punk records. RVIVR is celebrating its release with a trio of shows in Portland, Olympia, and Seattle. But fair warning: The live show is likely to loudly espouse the virtues of gender equality. Anybody who thinks women can’t rock as hard as men may want to stay home tonight (and any other night too, thank you very much). With Agatha. Vera

Project, 305 Warren Ave. N., 956-8372. 7:30 p.m. $8. All ages. DAVE LAKE

The Decibel Magazine Tour SUNDAY, MAY 19

It’s hard to imagine a more face-pummeling package tour than this one, which features a trio of the heaviest and longest-running bands in metal. Co-headliners Cannibal Corpse, Napalm Death, and Immolation helped to define the death-metal and grindcore movements, and all three are still going strong—the first two issued new records in 2012 (their 12th and 15th, respectively), and Immolation released its ninth LP earlier this month. Seeing all three on a single stage should be a rare treat for hardcore headbangers. With Cretin. El Corazon, 109 Eastlake Ave. E., 262-0482. 6:20 p.m. $25 adv./$28 DOS. All ages. DAVE LAKE

column»Toke Signals

S.A.M. COLLE

West Coast Wellness, Two Years Later

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BY STEVE ELLIOTT

ore than two years after my last visit (March 2011) to West Coast Wellness, quite a few things have changed. One of the very best changes is the almost complete $10 cap on flower prices; when I visited before, 18 top-shelf strains were priced at $15 a gram and 12 more strains were $12. I say “almost” complete because West Coast Wellness did have one $12 strain on the day I visited: some beautiful Kona Gold. I was glad one thing hadn’t changed—I had absolutely no wait either time to go into the bud room. There weren’t 40 strains available this time; instead, around two dozen. But the fact that all but one was only $10 a gram kept me from wondering what might be missing; I was too happily busy selecting from the flower menu. After eyeballing a few choices, I decided there was no way I was leaving without some $12 Kona Gold. After all, I wanted the best weed in the place! Kona Gold is a 1970s vintage sativa-dominant hybrid hailing from the southern slopes of Hawaii’s Big Island. It reputedly still possesses the same genetics as the original Kona Gold, and produces a strong mental high; its physical effects can include aphrodisiac properties with the proper company. These subtly skunky, very crystalline, resinous flowers appear quite light-green with abundant red hairs, and are rather dense for a sativa-dominant strain. The high comes on like a classic sativa, kicking

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Nightlife Reporter Seattle Weekly is looking for a reporter to join its team of talented writers and help shape its weekly newspaper and daily website while continuing the publicationâ€™s legacy of award-winning journalism. The ideal candidate will be passionate about local news and politics while also possessing the ability to write about Seattleâ€™s nightlife, including coverage of music, crime, the arts, bars and all other after-dark activities. The Nightlife Reporter will be adept at story generation and development, for both longform narrative work and daily blogging. The right candidate will work exceptionally well with words and people. Seattle Weekly offers competitive salaries and benefits. Qualified applicants should send a resume and a substantive letter explaining why the Seattle Weekly needs you now, including up to 10 recent clips, if you have them to: hreast@soundpublishing.com

or mail to: Sound Publishing, 19426 68th Ave. S., Kent, WA 98032 ATTN:SEAREP

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CREATIVE ARTIST Sound Publishing, Inc. has a Creative Artist position available at its Seattle Weekly office in Seattle, WA. Position is FT, the schedule requires ďŹ‚exibility. DUTIES: â€˘ Complete advertising design requests in conjunction with the needs of the account executive, inside sales and management staffs. â€˘ Develop speculative layouts and campaigns by request of salespeople and managers or by own initiative for both new and existing accounts. â€˘ Aid in the design of promotional materials for Seattle Weekly, including advertisement for special sections, inhouse ads, and other promotions. â€˘ Design and compile special section spreads and other advertising layout schemes. â€˘ Perform any other duties or functions as assigned by the Publisher or Production Manager. REQUIREMENTS: â€˘ Experience with Adobe Creative Suite 6, InDesign, Photoshop, Illustrator, and Acrobat (focused on print) â€˘ Excellent customer service, organization and communication skills. Newspaper experience is preferred, but not required. AdTracker/DPS experience is a plus! Must be able to work independently as well as part of a team. If you can think outside the box, are well organized and would like to be part of a highly energized, competitive and professional team, we want to hear from you! Please email your cover letter, resume, and samples of your work or link to your online portfolio, to: hreast@soundpublishing.com Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

FARM HELP NEEDED Planting time is here. Call Wayne at 417-6710 or 775-9313 or come to The Family Farm, 3931 Old Olympic Hwy, just west of McDonald Ck.

Health Care Employment

Legal Notices

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Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to replace existing antennas and other wireless equipment on the rooftop of a building located at 102 Occidental Avenue South, Seattle, WA 98104. Public comments regarding potential effects from this site on historic properties may be submitted within 30-days from the date of this publication to: Paul Bean, Tetra Tech, Inc., 19803 North Creek Parkway, Bothell, WA 98011, 425-482-7811, paul.bean@tetratech.com.

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Legal Notices Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to replace existing antennas and other wireless equipment on the rooftop of a building located at 830 4th Avenue South, Seattle, WA 98134. Public comments regarding potential effects from this site on historic properties may be submitted within 30-days from the date of this publication to: Paul Bean, Tetra Tech, Inc., 19803 North Creek Parkway, Bothell, WA 98011, 425-482-7811, paul.bean@tetratech.com.

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LEGAL NOTICE Cellco Partnership and its controlled affiliates doing business as Verizon Wireless (Verizon Wireless) proposes to place a temporary COW/COLT communications tower to a height of 30-ft. Anticipated lighting application is medium intensity dual red/white strobes. The Site location is 3800 Lake Washington Blvd, Seattle, King County, Washington, 98118, 47Âş 34â€™ 12.5â€?, 122Âş 16â€™ 41.69â€?. The Federal Communications Commission (FCC) Antenna Structure Registration (ASR, Form 854) filing number is A0838716. ENVIRONMENTAL EFFECTS - Interested persons may review the application (www.fcc.gov/asr/applications) by entering the filing number. Environmental concerns may be raised by filing a Request for Environmental Review (www.fcc.gov/asr/environmentalrequest) and online filings are strongly encouraged. The mailing address to file a paper copy is: FCC Requests for Environmental Review, Attn: Ramon Williams, 445 12th Street SW, Washington, DC 20554. HISTORIC PROPERTIES EFFECTS - Public comments regarding potential effects on historic properties may be submitted within 30 days from the date of this publication to: Paul Bean, Tetra Tech, Inc., 19803 North Creek Parkway, Bothell, WA 98011, 425-482-7811, paul.bean@tetratech.com.

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